Download Free Frontier Women And Their Art Book in PDF and EPUB Free Download. You can read online Frontier Women And Their Art and write the review.

While often less celebrated than their male counterparts, women have been vital contributors to the arts for centuries. Works by women of the frontier represent treasured accomplishments of American culture and still impress us today, centuries after their creation. The breadth of creative expression by women of this time period is as impressive as the women themselves. In Frontier Women and Their Art: A Chronological Encyclopedia, Mary Ellen Snodgrass explores the rich history of women’s creative expression from the beginning of the Federalist era to the end of the 19th century. Focusing particularly on Western artistic style, the importance of cultural exchange, and the preservation of history, this book captures a wide variety of artistic accomplishment, such as: Folk music, frontier theatrics, and dancing Quilting, stitchery, and beadwork Sculpture and adobe construction Writing, translations, and storytelling Individual talents highlighted in this volume include basketry by Nellie Charlie, acting by Blanche Bates, costuming by Annie Oakley, diary entries from Emily French, translations by Sacajawea, flag designs by Nancy Kelsey, photography by Jennie Ross Cobb, and singing by Lotta Crabtree. Each entry includes a comprehensive bibliography of primary and secondary sources, as well as further readings on the female artists and their respective crafts. This text also defines and provides examples of technical terms such as applique, libretto, grapevine, farce, coil pots, and quilling. With its informative entries and extensive examinations of artistic talent, Frontier Women and Their Art is a valuable resource for students, scholars, and anyone interested in learning about some of the most influential and talented women in the arts.
Art of the American Indian Frontier examines an incomparable collection of nineteenth-century Native American art from the North American Woodlands, Prairie, and Plains. The collection resulted from the efforts of Milford G. Chandler and Richard A. Pohrt, whose early childhood fascination with the Indian frontier past evolved into a deep and comprehensive interest in Native American ceremonies, beliefs, and art. Though neither was wealthy or enjoyed the sponsorship of a museum, they traveled extensively early in the twentieth century, buying or trading for objects they could not resist. This volume presents the Detroit Institute of Art's Chandler-Pohrt collection with detailed documentation and commentary. Clothing and accessories of porcupine quill and buckskin, woven textiles, bags, beadwork, necklaces, rawhide paintings, smoking pipes, tools, vessels and utensils, pictographs, and visionary paintings are portrayed in 220 stunning color plates. Complementing the illustrations are essays dealing with historical context, ethnographic issues, and the lives and philosophies of the collectors.
This is a chronology of creative contributions made by Caribbean women. Among the arts covered in this volume are quilting, beadwork, dancing, diaries and memoirs, folk music, landscaping, sculpture, theatrics, etc. Entries are cross-referenced and include further readings drawn from an exhaustive bibliography of sources.
Ranging from Georgia's founding in the 1730s until the American Revolution in the 1770s, Georgia's Frontier Women explores women's changing roles amid the developing demographic, economic, and social circumstances of the colony's settling. Georgia was launched as a unique experiment on the borderlands of the British Atlantic world. Its female population was far more diverse than any in nearby colonies at comparable times in their formation. Ben Marsh tells a complex story of narrowing opportunities for Georgia's women as the colony evolved from uncertainty toward stability in the face of sporadic warfare, changes in government, land speculation, and the arrival of slaves and immigrants in growing numbers. Marsh looks at the experiences of white, black, and Native American women-old and young, married and single, working in and out of the home. Mary Musgrove, who played a crucial role in mediating colonist-Creek relations, and Marie Camuse, a leading figure in Georgia's early silk industry, are among the figures whose life stories Marsh draws on to illustrate how some frontier women broke down economic barriers and wielded authority in exceptional ways. Marsh also looks at how basic assumptions about courtship, marriage, and family varied over time. To early settlers, for example, the search for stability could take them across race, class, or community lines in search of a suitable partner. This would change as emerging elites enforced the regulation of traditional social norms and as white relationships with blacks and Native Americans became more exploitive and adversarial. Many of the qualities that earlier had distinguished Georgia from other southern colonies faded away.
For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art. Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, László Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book—in recognition of the complexity of the story it tells—doesn’t follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city’s institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments—such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus—are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable recognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as—or resist identifying as—a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor—and one that will surprise and enlighten even the most dedicated fan of the city’s artistic heritage. Part of the Terra Foundation for American Art’s year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan—regardless of their city—will want to miss it.
Dali is a small region on a high plateau in Southeast Asia. Its main deity, Baijie, has assumed several gendered forms throughout the area's history: Buddhist goddess, the mother of Dali's founder, a widowed martyr, and a village divinity. What accounts for so many different incarnations of a local deity? Goddess on the Frontier argues that Dali's encounters with forces beyond region and nation have influenced the goddess's transformations. Dali sits at the cultural crossroads of Southeast Asia, India, and Tibet; it has been claimed by different countries but is currently part of Yunnan Province in Southwest China. Megan Bryson incorporates historical-textual studies, art history, and ethnography in her book to argue that Baijie provided a regional identity that enabled Dali to position itself geopolitically and historically. In doing so, Bryson provides a case study of how people craft local identities out of disparate cultural elements and how these local identities transform over time in relation to larger historical changes—including the increasing presence of the Chinese state.
Angel De Cora (c. 1870–1919) was a Native Ho-Chunk artist who received relative acclaim during her lifetime. Karen Thronson (1850–1929) was a Norwegian settler housewife who created crafts and folk art in obscurity along with the other women of her small immigrant community. The immigration of Thronson and her family literally maps over the De Cora family’s forced migration across Wisconsin, Iowa, and onto the plains of Nebraska and Kansas. Tracing the parallel lives of these two women artists at the turn of the twentieth century, art historian Elizabeth Sutton reveals how their stories intersected and diverged in the American Midwest. By examining the creations of these two artists, Sutton shows how each woman produced art or handicrafts that linked her new home to her homeland. Both women had to navigate and negotiate between asserting their authentic self and the expectations placed on them by others in their new locations. The result is a fascinating story of two women that speaks to universal themes of Native displacement, settler conquest, and the connection between art and place.
Describes changes in how the West has been seen, from a male-dominated frontier, to a region with a powerful sense of place, to a modern center of both genders, ethnic groups, and environmental interests
Stella Nemo, the most appealing sort of sophisticated naif, plunges her paper ship, the Nautilus, into deepest, blackest space, crossing into the fraught domains of other planets and other minds, beaming requests for information to Ada Byron (a clone and psychic information scientist), and dreaming of the renaissance poet Thomas Wyatt (who exists as data). Stella's mission: to attempt to think and to write without being disturbed, derailed or killed.
This book depicts a group of Chicago patrons who sought to shape the city's identity and foster a uniquely American style, by supporting local artists who depicted the West.