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With color photographs and artwork, Sisters in Art is the first biography to capture the lives and works of Margaret, Esther, and Helen Bruton, three exceptionally talented sisters whose mark on the California modernist art scene still impacts our world. Nominee, 2021 New Deal Book Award "Great stories abound in this book, including the goings-on of the 'Monterey Group' of painters and an encounter with a teetotaling Henri Matisse at a North Beach cocktail party. If California had a Belle Époque, this was it. From their chubby-cheeked 'Gibson Girl' childhood through their sunlit dotage, the Brutons were exemplars of many aspects of California history and, in recent years, overlooked. Good’s book corrects this." —Library Journal "Both beautiful and substantial, Sisters in Art: The Biography of Margaret, Esther, and Helen Bruton. . . would make a great gift for the art lover in your life […] The book contains detailed-but-lively accounts of the sisters' lives and work, and is filled with black-and-white and color plates of their art." —The Carmel Pine Cone "An illuminating and heroic work... [Good] writes vividly about how all three Brutons continued to make art until the very end of their lives." —Jasmin Darznik, New York Times–bestselling author of The Bohemians "For decades, Margaret, Esther and Helen Bruton have been relegated to a side note in California art history. Yet their work has found new appreciation in the 21st century, and their fascinating lives and impressive artistic achievements are finally coming back into the light." —Carmel Magazine Educated at art schools in New York and Paris, the Brutons ran in elite artistic circles and often found themselves in the company of luminaries including Frida Kahlo, Diego Rivera, Henri Matisse, Armin Hansen, Maynard Dixon, Imogen Cunningham, and Ansel Adams. Their contemporaries described the sisters as geniuses, for they were bold experimenters who excelled in a wide variety of mediums and styles, each eventually finding a specialization that expressed her best: Margaret turned to oil paintings, watercolors, and terrazzo tabletops; Esther became known for her murals, etchings, fashion illustrations, and decorative screens; and Helen lost herself in large-scale mosaics. Although celebrated for their achievements during the 1920s and 1930s, the Brutons cared little about fame, failing to promote themselves or their work. Over time, the "famous Bruton sisters" and their impressive art careers were nearly forgotten. Now for the first time, Sisters in Art reveals the contributions of Margaret, Esther, and Helen Bruton as their works continue to inspire and find new appreciation today.
This biography of Vincent van Gogh’s sisters tells the fascinating story of the lives of these women whose history has largely been neglected. Many people are familiar with the life and art of Vincent van Gogh, and his extensive correspondence with his brother Theo. But their sisters—Ana, Lies, and Wil van Gogh—have gone overlooked until now. In this compelling group biography based on extensive primary resources, art historian Willem-Jan Verlinden brings Vincent’s three sisters into the spotlight. At a time when the feminist movement was beginning to take root and idealists were clamoring for revolution, the Van Gogh sisters recorded their aspirations and dreams, their disappointments and grief. Based on little-known correspondence between the sisters, this fascinating account of these remarkable women captures a moment of profound social, economic, and artistic change. With great clarity and empathy, The Van Gogh Sisters relates the sisters’ intimate discussions of art, poetry, books, personal ambitions, and employment. Their story will resonate with readers and broaden understandings of Vincent van Gogh’s childhood. Set against the backdrop of a turbulent period in nineteenth-century history this story sheds new light on these impressive women, deepening our understanding of this unique and often troubled family.
"The story in this book begins with the first letter in the year Eliza Champlain was born, 1797, in New London. It unfolds through her own, her mother's, and her aunt's correspondence - hundreds of letters now first published with explanatory chapters, commentary, and notes around them. Her aunt, at first in their home town and then (from 1811) for eight years in New York, was the first professional artist of her sex in the United States - Mary Way, a painter of miniature portraits. Eliza's mother, remaining at home, also earned her living by her brush. The two older women taught all they knew to Eliza, sometimes looking over her shoulder, sometimes in their letters. To show how artists went about their work in the period, nothing matches this collection." "Paintings by all three can be found in various private collections and galleries, including the Metropolitan Museum in New York. The book through its color plates introduces an equal number of paintings hitherto unknown which were preserved with the letters." "The core of the book, however, is the world of women - their circles and relationships, their concerns, and the opportunities open to them in the early Republic."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
From the internationally acclaimed artist, a stunning collection of portraits of ground-breaking women—Joan of Arc, Josephine Baker, Greta Thunberg, Misty Copeland, and many more history-making women whose names have been forgotten and are finally being brought to light. • With a Foreword by Roxane Gay. “This book, as a whole, offers the reader possibility and promise … You will be introduced to many of these women for the first time, because history is rarely kind to women until it is forced to be. You will learn about artists and activists, rulers and rebels.” —Roxane Gay, from the Foreword Original Sisters was born from the COVID-19 quarantine. In early March 2020, locked down in her home-studio in Toronto and longing for inspiration, artist Anita Kunz started researching women on the Internet. She wasn’t sure what she was looking for, but she soon found an array of astonishing people who had done amazing things—some of whom she had heard of, but most of whom she had not. And then she began to paint their pictures and write down their stories. The result is a jaw-dropping feat of historic and artistic research. The wide variety of lives, occupations, time periods, and achievements is absolutely mind-bending. From Joan of Arc to Josephine Baker, from Hippolyta to Greta Thunberg, from Anne Frank to Misty Copeland: these women made and changed history. But there are just as many whom you’ve never heard of, who were never recognized in their lifetimes, whose achievements need to be brought to light. They include the anti-Nazi activist Sophie Scholl, who was executed at age twenty-one by the Third Reich, and Alice Ball, a young African American scientist who discovered a treatment for leprosy but died tragically before she could receive credit for it. This is not only a breathtaking art book. Original Sisters also recounts a secret history that must be told so that it is a secret no more.
Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange - from rivalry to inspiration to collaboration - between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900.
The classic pulps were detective stories, horror, fantasy, and science fiction, but in the midst of this melange developed a significant subcategory of lurid, titillating tales of lesbian love. Aimed primarily at a heterosexual audience they offered readers a glimpse into a secret world of illicit passion and scandalous sex between delicious and devilish dames. This book is the first to be devoted to the cover art of these wildly wicked novels. Bold, kitschy, colourful, they are fraught with sexual tension. Includes 200 full colour illustrations.
The remarkable story of “outsider” artist Judith Scott, who was institutionalized for more than thirty years before being reunited with her sister From birth, fraternal twins Judith and Joyce Scott lived as if they were one person in two bodies, understanding instinctively what the other wanted and felt, despite the fact that Judy had Down syndrome, profound deafness, and never learned to speak or sign. But this idyllic childhood of color, texture, and feeling ended abruptly when, at age seven, Judy was taken from their shared bed while Joyce slept, not knowing that the wholeness they had known was being shattered. For the next three decades, Joyce is left without her other half and must grieve unexpected loss while navigating her relationship with an emotionally distant mother—alone. Even so, her life parallels her twin’s in surprising ways. While in college, Joyce too is sent away, pressured to relinquish the secret daughter she bore in hiding to adoption. Decades later, Joyce resolves to reunite with her sister and fill their remaining years with joy. After overcoming legal hurdles to become Judy’s legal guardian, she enrolls her in an art center for adults with disabilities in Oakland, California. Judy is hesitant at first, but after two years of uninterested painting and drawing, her untapped creativity suddenly ignites when she is introduced to fiber art, and she begins carefully and intentionally winding yarn and other materials around combinations of found objects. With unflagging intensity, Judy works five days a week for the next eighteen years, producing more than two-hundred astoundingly diverse fiber sculptures. Unconcerned with her growing fame, she remains fully immersed in her artistic vision until her death in 2005. Today, Judith Scott’s work is displayed in museums and galleries around the world, in some of the most prestigious collections of contemporary art. Entwined is a penetrating personal narrative that explores a complex world of disability, loss, reunion, and the resiliency of the human spirit. Part memoir, part biography, Entwined is a poignant and astonishing story about sisters finding their voices in each other’s love and through art.
They were friends with Picasso and Matisse. They ran in the same circles as Gertrude and Leo Stein. They avidly purchased works by Manet, Gauguin, Cezanne, Seurat, and Degas at a time when other Americans didn't. They were two Victorian women from Baltimore buying avant-garde art in Paris, attending salons with friends, and building a collection that would initially puzzle and eventually awe the art world. Over a period of fifty years, sisters Caribel and Etta Cone amassed one of the most acclaimed collections of late-nineteenth and twentieth-century art in America. Dr. Claribel and Miss Etta were two halves of an idiosyncratic team who used the fortures of their German Jewish immigrant family to seek out works that imspired and pleased them, regardless of public opinion. This richly illustrated biography documents their lives from a unique perspective: that of their great-niece and their great-great-niece. Ellen B. Hirschland and her daughter Nancy Hirschland Ramage delve into Claribel's and Etta's world, following the sisters through letters and personal stories as they travel to meet the artists whose work would turn their adjoining apartments into a virtual museum. The sisters' experiences in Paris in the 1910s and 1920s provide an exceptional view of the bright artistic ferment in the city at that time. Only time would vindicate their keen vision and unwavering taste.
A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints,' 'Sinners,' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints,' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.