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Excerpt from Eighteenth Annual Meeting, December 17, 1915, Vol. 6: Reports of Officers and Committees; Memorial Sketches No. 10, Vol. VI. Cooking Utensils and Cookery of our Grandmothers, Lard Dips, Candle Sticks and Lamps, or The Light of Other Days. 19 pages. 111. 3. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Many Americans are familiar with the real, but repeatedly stereotyped problem of alcohol abuse in Indian country. Most know about the Prohibition Era and reformers who promoted passage of the Eighteenth Amendment, among them the members of the Woman’s Christian Temperance Union. But few people are aware of how American Indian women joined forces with the WCTU to press for positive change in their communities, a critical chapter of American cultural history explored in depth for the first time in In League Against King Alcohol. Drawing on the WCTU’s national records as well as state and regional organizational newspaper accounts and official state histories, historian Thomas John Lappas unearths the story of the Woman’s Christian Temperance Union in Indian country. His work reveals how Native American women in the organization embraced a type of social, economic, and political progress that their white counterparts supported and recognized—while maintaining distinctly Native elements of sovereignty, self-determination, and cultural preservation. They asserted their identities as Indigenous women, albeit as Christian and progressive Indigenous women. At the same time, through their mutual participation, white WCTU members formed conceptions about Native people that they subsequently brought to bear on state and local Indian policy pertaining to alcohol, but also on education, citizenship, voting rights, and land use and ownership. Lappas’s work places Native women at the center of the temperance story, showing how they used a women’s national reform organization to move their own goals and objectives forward. Subtly but significantly, they altered the welfare and status of American Indian communities in the early twentieth century.
Eanger Irving Couse (1866–1936) showed remarkable promise as a young art student. His lifelong interest in Native American cultures also started at an early age, inspired by encounters with Chippewa Indians living near his hometown, Saginaw, Michigan. After studying in Europe, Couse began spending summers in New Mexico, where in 1915 he helped found the famous Taos Society of Artists, serving as its first president and playing a major role in its success. This richly illustrated volume, featuring full-color reproductions of his artwork, is the first scholarly exploration of Couse’s noteworthy life and artistic achievements. Drawing on extensive research, Virginia Couse Leavitt gives an intimate account of Couse’s experiences, including his early struggles as an art student in the United States and abroad, his study of Native Americans, his winter home and studio in New York City, and his life in New Mexico after he relocated to Taos. In examining Couse’s role as one of the original six founders of the Taos Society of Artists, the author provides new information about the art colony’s early meetings, original members, and first exhibitions. As a scholar of art history, Leavitt has spent decades researching her subject, who also happens to be her grandfather. Her unique access to the Couse family archives has allowed her to mine correspondence, photographs, sketchbooks, and memorabilia, all of which add fresh insight into the American art scene in the early 1900s. Of particular interest is the correspondence of Couse’s wife, Virginia Walker, an art student in Paris when the couple first met. Her letters home to her family in Washington State offer a vivid picture of her husband’s student life in Paris, where Couse studied under the famous painter William Bouguereau at the Académie Julian. Whereas many artists of the early twentieth century pursued a radically modern style, Couse held true to his formal academic training throughout his career. He gained renown for his paintings of southwestern landscapes and his respectful portraits of Native peoples. Through his depictions of the domestic and spiritual lives of Pueblo Indians, Couse helped mitigate the prejudices toward Native Americans that persisted during this era.