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This biography of Ralph Adams Cram offers a portrait of America's avant garde, Boston's little known fin-de-siecle bohemia, in which Cram figured as leader, editor, art critic, poet and designer. It discloses the contribution of Boston's gay subculture to its intellectual and cultural history.
Following in the footsteps of Boston Bohemia, 1881-1900, Douglass Shand-Tucci's widely praised portrait of Ralph Adams Cram's early years, this volume tells the story of Cram's later career as one of America's leading cultural figures and most accomplished architects. With his partner Bertram Goodhue, Cram won a number of important commissions, beginning with the West Point competition in 1903. Although an increasingly bitter rivalry with Goodhue would lead to the dissolution of their partnership in 1912, Cram had already begun to strike out on his own. Supervising architect at Princeton, consulting architect at Wellesley, and head of the MIT School of Architecture, he would also design most of New York's Cathedral of St. John the Divine and the campus of Rice University, as well as important church and collegiate structures throughout the country. By the 1920s Cram had become a household name, even appearing on the cover of Time magazine. A complex man, Cram was a leading figure in what Shand-Tucci calls "a full-fledged homosexual monastery" in England, while at the same time married to Elizabeth Read. Their relationship was a complicated one, the effect of which on his children and his career is explored fully in this book. So too is his work as a religious leader and social theorist. Shand-Tucci traces the influence on Cram of such disparate figures as Franklin Delano Roosevelt, Phillips Brooks, Henry Adams, and Ayn Rand. He divides Cram's career into four lifelong "quests" medieval, modernist, American, and ecumenical. Some quests may have failed, but in each he left a considerable legacy, ultimately transforming the visual image of American Christianity in the twentieth century. Handsomely illustrated with over 130 photographs and drawings and eight pages of color plates, Ralph Adams Cram can be read on its own or in conjunction with Boston Bohemia, 1881-1900. Together, the two volumes complete what the Christian Century has described as a "superbly researched and captivating biography."
The highly publicized obscenity trial of Radclyffe Hall's The Well of Loneliness (1928) is generally recognized as the crystallizing moment in the construction of a visible modern English lesbian culture, marking a great divide between innocence and deviance, private and public, New Woman and Modern Lesbian. Yet despite unreserved agreement on the importance of this cultural moment, previous studies often reductively distort our reading of the formation of early twentieth-century lesbian identity, either by neglecting to examine in detail the developments leading up to the ban or by framing events in too broad a context against other cultural phenomena. Fashioning Sapphism locates the novelist Radclyffe Hall and other prominent lesbians--including the pioneer in women's policing, Mary Allen, the artist Gluck, and the writer Bryher--within English modernity through the multiple sites of law, sexology, fashion, and literary and visual representation, thus tracing the emergence of a modern English lesbian subculture in the first two decades of the twentieth century. Drawing on extensive new archival research, the book interrogates anew a range of myths long accepted without question (and still in circulation) concerning, to cite only a few, the extent of homophobia in the 1920s, the strategic deployment of sexology against sexual minorities, and the rigidity of certain cultural codes to denote lesbianism in public culture.
Most studies of modern Gothic media assume that, beyond the 1830s, modern Gothic architecture and literature had very little in common. The work of Ralph Adams Cram (1863–1942), America’s most prolific Gothic Revival architect and an author of ghost stories, challenges that assumption. The first interdisciplinary study of Cram’s aesthetics, Cameron Macdonell’s Ghost Storeys deconstructs the boundaries of Gothic architecture and literature through a microhistory of St Mary’s Anglican Church in Walkerville, Ontario. Focusing on Cram and the church’s main patron, Edward Walker (1851–1915), Macdonell explores the intricate intersections of Gothic aesthetics, architectural ethics, literature, theology, cultural values, and community construction in an Edwardian-era company town. When Walker commissioned the church, he believed that its economy of salvation could save him from the syphilis that afflicted his body and stained his soul. However, while implementing that economy, Cram, whose architectural theory, social commentary, and ghost stories were pessimistic about reviving the Gothic in the modern world, also created an architecture haunted by the sickness of humanity. Painstakingly researched and lavishly illustrated, Ghost Storeys redefines the allegorical relationship between a marginalized church and the Gothic Revival movement as a global interdisciplinary phenomenon.
Dva svazky přinášejí vědecké vydání děl Edwarda Perryho Warrena (z nichž žádné, s výjimkou jediného, dosud nebylo nově publikováno), doplněné o úvodní životopisné údaje, rozsáhlý poznámkový aparát, překlady, ilustrace a přílohy. Poprvé zde může čtenář slyšet Warrenův hlas v jeho plné šíři – v jeho korespondenci a dalších textech, které tvoří jeho biografii nazvanou Edward Perry Warren: The Biography of a Connoisseur, v jeho konverzaci, zachycené v díle An Imaginary Conversation Osberta Burdetta, v jeho románu A Tale of Pausanian Love (který je zde vydán vůbec poprvé), v jeho sbírce The Wild Rose: A Volume of Poems, v jeho pohádce The Prince Who Did Not Exist, v jeho odborném článku The Scandal of the Museo di Villa Giulia, v jeho pamfletu Classical & American Education, v jeho převyprávění tří řeckých legend Alcmaeon, Hypermestra, Caeneus a konečně v jeho vrcholném díle, apologii A Defence of Uranian Love.
New and surprising insights into homoeroticism of times past In ancient times, the Greek god Eros personified both heterosexual and homosexual attractions. Same-Sex Desire and Love in Greco-Roman Antiquity and in Classical Tradition of the West explores the homosexual side of the vanished civilizations of Greece and Rome, and the resulting influence on the Classical tradition of the West. Respected scholars clearly present evidence that shows the extensive nature of homoeroticism and homosexuality in the Classical world. Iconography such as vase decoration and carved gemstones is presented in photographs, and the text includes an examination of a wide selection of literature of the times with an eye to opening new vistas for future study. Same-Sex Desire and Love in Greco-Roman Antiquity and in Classical Tradition of the West lays to rest the myths generally accepted as truth about Greco-Roman views on homosexuality and brings fresh insights to philological and historical scholarship. This book provides nuanced, humanistic discussions on the common phenomena of same-sex desire. Topics include Greek pederasty and its origins, the Greek female homoeroticism of Sappho, homosexuality in Greek and Roman art and literature, and the emergence of the gay liberation movement with the influence of discussions of Greek and Roman homosexuality in the twentieth century. The text is extensively referenced and includes helpful notation. Same-Sex Desire and Love in Greco-Roman Antiquity and in Classical Tradition of the West provides a comprehensive table of abbreviations, subject index, and index of names and terms. It discusses in detail: the integral role athletic nudity played in athlete-trainer pederasty the central role of pederasty in Greek history, politics, art, literature, and learning tracing the history of the Ganymede myth how the athletic culture of Sparta contributed to the spread of pederasty in Greece homosexuality in Boeotia in contrast to the rest of Greece the homoeroticism of Sappho dispelling generally accepted myths prevalent about Roman sexuality Roman visual representations of homosexuality as evidence of prevailing attitudes homoerotic connotations in literature and philosophy of the Italian Renaissance the effect of German classical philology on gay scholarship English Romantic poets and the importance of male love in their lives the Uranians’ use of allusions and themes from ancient Greece the building of intellectual community through gay print culture—through the use of Greece and Rome as models and more Same-Sex Desire and Love in Greco-Roman Antiquity and in Classical Tradition of the West is essential reading for Classicists, specialists in gender/sexuality studies, humanists interested in the classical tradition in Western culture, psychologists, and other social scientists in human sexuality.
This collection of essays, which derive from a symposium held at the Art Institute of Chicago in 2005, tells the story of how medieval art was collected by both individuals and institutions in the American Midwest. This book will appeal to both medievalists and scholars of nineteenth- and twentieth century American history. In addition, it will also appeal to scholars who are interested in museum studies and the history of collecting. The essays in the first section, “Collecting and Displaying Medieval Art,” consider the formation of medieval art collections at influential cultural institutions in three of the most important centers of industry and culture in the Midwest: Chicago, Detroit and Cleveland. The second section, “Medieval Art as Inspiration and Education,” examines the motives of both private donors and museum professionals in forming collections and establishing period rooms and cloistered spaces at museums in Toledo, Kansas City, and St. Louis, among others. At the opposite end of the spectrum was a new trend in curatorial practice, beginning in the 1930s, that favored the dismantling of period rooms and espoused displaying historical works of art in more distinctly modern settings, a theme that pervades section three, “Medieval Art and Modernism.” An essay on medieval art in Midwestern university art museums and another one that considers the impact of works from medieval collections in special exhibitions serve as a remarkable coda to the rest of the volume. Two appendices follow this, one that provides an overview of medieval art collections in Midwestern university museums and another which provides a biographical sketch of prominent dealers of medieval art from 1900-1950.
Bringing together 12 original essays, Shaping the American Interior maps out, for the first time, the development and definition of the field of interiors in the United States in the period from 1870 until 1960. Its interdisciplinary approach encompasses a broad range of people, contexts, and practices, revealing the design of the interior as a collaborative modern enterprise comprising art, design, manufacture, commerce, and identity construction. Rooted in the expansion of mass production and consumption in the last years of the nineteenth century, new and diverse structures came to define the field and provide formal and informal contexts for design work. Intertwined with, but distinct from, architecture and merchandising, interiors encompassed a diffuse range of individuals, institutions, and organizations engaged in the definition of identity, the development of expertise, and the promotion of consumption. This volume investigates the fluid pre-history of the American profession of interior design, charting attempts to commoditize taste, shape modern conceptions of gender and professionalism, define expertise and authority through principles and standards, marry art with industry and commerce, and shape mass culture in the United States.
This book offers the first full-scale examination of the architecture associated with the Arts and Crafts movement that spread throughout New England at the turn of the twentieth century. Although interest in the Arts and Crafts movement has grown since the 1970s, the literature on New England has focused on craft production. Meister traces the history of the movement from its origins in mid-nineteenth-century England to its arrival in the United States and describes how Boston architects including H. H. Richardson embraced its tenets in the 1870s and 1880s. She then turns to the next generation of designers, examining buildings by twelve of the region's most prominent architects, eleven men and a woman, who assumed leadership roles in the Society of Arts and Crafts, founded in Boston in 1897. Among them are Ralph Adams Cram, Lois Lilley Howe, Charles Maginnis, and H. Langford Warren. They promoted designs based on historical precedent and the region's heritage while encouraging well-executed ornament. Meister also discusses revered cultural personalities who influenced the architects, notably Ralph Waldo Emerson and art historian Charles Eliot Norton, as well as contemporaries who shared their concerns, such as Louis Brandeis. Conservative though the architects were in the styles they favored, they also were forward-looking, blending Arts and Crafts values with Progressive Era idealism. Open to new materials and building types, they made lasting contributions, with many of their designs now landmarks honored in cities and towns across New England.