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University Press of Virginia film negatives used for the printing of the book.
A brochure and film-discussion guide to accompany a 27-minute film based on the 1976 exhibition at the National Gallery of Art in Washington, D.C. exploring Thomas Jefferson's interests in the arts.
Since its publication in 1960, The Jefferson Image in the American Mind has become a classic of historical scholarship. In it Merrill D. Peterson charts Thomas Jefferson's influence upon American thought and imagination since his death in 1826. Peterson shows how the public attitude toward Jefferson has always paralleled the political climate of the time; the complexities of the man, his thoughts, and his deeds being viewed only in fragments by later generations. He explains how the ideas of Jefferson have been distorted, defended, pilloried, or used by virtually every leading politician, historian, and intellectual. Through most of our history, political parties have engaged in an ideological tug-of-war to see who would wear "the mantle of Jefferson."
The aim of the American Presidency Series is to present historians and the general reading public with interesting, scholarly assessment of the various presidential administrations. These interpretive surveys are intended to cover the broad ground between biographies, specialized monographs, and journalistic accounts.
Thomas Jefferson was, by any reckoning, one of the most remarkable men ever to have crossed America's political stage. In 1776 he drafted the Declaration of Independence, and throughout the Revolution and in the posts he held thereafter - governor of Virginia, minister to France, secretary of state, vice president, and president - Jefferson's responsibilities were enormous and his accomplishments profound. Yet during those years he also was able to design his own house, Monticello, the magnificent Palladian mansion in central Virginia, and later to establish the University of Virginia and to plan its principal buildings. And, through all this, Jefferson made purchases for a lifetime. Needing to furnish not only Monticello but also the ministerial residence in Paris - the Hotel de Langeac - and the President's House in Washington, Jefferson bought with consummate taste and an extraordinary eye for the newest in American, English, and French styles. Fascinated by science and the growing field we now call "technology", Jefferson procured or had built devices for copying letters, telescopes for exploring the stars, and even dumbwaiters to minimize dependence on servants at mealtimes. He was keenly curious about his native land and devoted to promoting its virtues, and he acquired examples of its fossils, flora, and fauna and studied its indigenous peoples. Determined that the former colonies should both enjoy their cultural patrimony and preserve their own history, he purchased original paintings and had copied what could not be bought. He commissioned busts of his intellectual heroes, as well as of the heroes of the American struggle for independence. The Worlds of Thomas Jeffersonassembles more than 150 of the objects Jefferson acquired - the first time they have been seen together since the contents of Monticello were dispersed at his death. This astonishing collection reveals the limitless range of his curiosity and the acuteness of his taste, portraying not only Jefferson the statesman but also Jefferson the architect, amateur scientist, connoisseur, farmer, and historian. The articles pictured and described range from priceless historical treasures, such as the lap desk on which the Declaration of Independence was composed, to the personal and homely, such as the wrist strap and dumbbell Jefferson was obliged to use after an injury; from precious objects of art, such as Gilbert Stuart's portraits of Jefferson, to the shards of porcelain found in excavations at Monticello; from the finely worked silver tumblers known as the "Wythe-Jefferson Cups" to the Mandan buffalo robe that was part of his collection of Native American artifacts; from the great Entrance Hall clock he designed for Monticello to the silk damask-upholstered chairs he purchased in Paris. In all, it is a collection that mirrors both the mind of America's greatest statesman and the tastes and styles of the time in history when the American people secured their own independence and offered the world an example of a free people in a democratic state. The Worlds of Thomas Jefferson is written by Susan R. Stein, curator of Monticello, who provides an introduction placing Jefferson's acquisitions within the context of his political career, family life, and intellectual pursuits. In the catalogue each object is described individually with details about its history as well as its importance toJefferson.
Who was the "real" Thomas Jefferson? If this question has an answer, it will probably not be revealed reading the many accounts of his life. For two centuries biographers have provided divergent perspectives on him as a man and conflicting appraisals of his accomplishments. Jefferson was controversial in his own time, and his propensity to polarize continued in the years after his death as biographers battled to control the commanding heights of history. To judge from their depictions, there existed many different Thomas Jeffersons. The essays in this book explore how individual biographers have shaped history—as well as how the interests and preoccupations of the times in which they wrote helped to shape their portrayals of Jefferson. In different eras biographers presented the third president variously as a proponent of individual rights or of majority rule, as a unifier or a fierce partisan, and as a champion of either American nationalism or cosmopolitanism. Conscripted to serve Whigs and Democrats, abolitionists and slaveholders, unionists and secessionists, Populists and Progressives, and seemingly every side of almost every subsequent struggle, the only constant was that Jefferson’s image remained a mirror of Americans’ self-conscious conceptions of their nation’s virtues, values, and vices. Thomas Jefferson’s Lives brings together leading scholars of Jefferson and his era, all of whom embrace the challenge to assess some of the most important and enduring accounts of Jefferson’s life. Contributors:Jon Meacham, presidential historian * Barbara Oberg, Princeton University * J. Jefferson Looney, Thomas Jefferson Foundation at Monticello * Christine Coalwell McDonald, Westchester Community College * Robert M.S. McDonald, United States Military Academy * Andrew Burstein, Louisiana State University * Jan Ellen Lewis, Rutgers University * Richard Samuelson, California State University, San Bernardino * Nancy Isenberg, Louisiana State University * Joanne B. Freeman, Yale University * Brian Steele, University of Alabama at Birmingham * Herbert Sloan, Barnard College * R. B. Bernstein, City College of New York * Francis D. Cogliano, University of Edinburgh * Annette Gordon-Reed, Harvard University * Gordon S. Wood, Brown University
What did Thomas Jefferson look like? How did he carry himself? Such questions, reasonable to ask as we look back on a person who lived in an era before photography, are the starting point for this boldly original new work. Maurizio Valsania considers all aspects of Jefferson’s complex conception of "the body," from eighteenth-century clothing and fashion to manners, adornment, posture, gesture, and visual and material culture. Drawing also from the fields of medical science, psychology, and cultural anthropology, the author conjures a vivid and detailed re-creation of the third president as a living, breathing—and pondering—human being. Having situated Jefferson in his own body, Valsania looks at the embodied Jefferson in the world of his fellow humans. Any one of the other people in Jefferson’s society—whether that other person was male or female, free or enslaved, African American or Native American—was a critical counterexample for the eighteenth-century Virginian to define himself against, and Valsania’s explorations here lead to numerous insightful discoveries about race, gender, and structures of power. The first comprehensive exploration of Jefferson’s corporeal world, Jefferson’s Body brings the man vividly to life for the modern reader while deepening our understanding of what it meant to Jefferson to be alive.
Revisionism has been the historical vogue for well over two decades concerning Jeffersonian scholarship. This movement has been an attempt to neutralize the avowed “hagiographical” scholarship on Jefferson by aiming to offer an all-too-human Thomas Jefferson. The regrettable result has been a depiction, iterated and reiterated uncritically by scholars, of a less-than-human Jefferson, presenting him as an inveterate hypocrite and racist. Thus, Jeffersonian scholarship, as argued here, has become an exercise in useless, fatuous repetition of the same claims that has impeded attempts by serious scholars to gain fresh insights into the mind of one of the greatest Americans. This book offers a stimulating, provocative challenge to the stale revisionist claims on Jefferson concerning his hypocrisy and racism. It will appeal to mavens of Jefferson, as well as scholars intent on moving forward with Jeffersonian scholarship. The book will also appeal to those persons who believe it is time to resituate Jefferson on his little mountain.