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Based on years of research and thousands of notes left by John Bennett, Mr. Skylark is an unusually intimate biography of a pivotal figure in the Charleston Renaissance, the brief period between the two World Wars that first witnessed many of the cultural and artistic changes soon to sweep the South. The book not only examines Bennett's life but also reveals the rich tapestry of the literary and social history of Charleston. An outsider who became an insider by marrying into the local aristocracy, Bennett was perfectly placed to observe social and artistic change and to prompt it. He published the first scholarly treatise on Gullah, the language of the coastal Southern blacks, and collected African American spirituals and tales. But after breaking several racial taboos of the time, he was publicly condemned, and it was only through mentoring such writers as Hervey Allen and DuBose Heyward that he was eventually welcomed back into the heart of the city. Today, the Charleston aesthetic, which mourned the loss of beauty in a modernizing South, is often overlooked in the study of Southern literature, but Bennett, through his extensive private correspondence and notes, offers insight into the forces that shaped this cultural movement. Restored to us in all his complexity and humor, Bennett is important for his own accomplishments, but also for providing a lens through which to view southern literary history and the complexities of a changing South.
Alice Ravenel Huger Smith (1876-1958), a leader of the Charleston Renaissance, immortalized the beauty and history of the Carolina Lowcountry and helped propel the region into an important destination for cultural tourism. A lifelong Charleston resident, she helped spark the city's historic preservation movement, depicted the waning days of rice planting, and captured the mystical spirit of the Lowcountry in luminous watercolors. This beautifully-illustrated volume is a personal account of the artist's life and work that draws on unpublished papers, letters, and interviews. It includes over 200 paintings, prints, sketches, and photographs, many shared for the first time. The most comprehensive book ever made of Alice's work, it is both an important contribution to Southern art scholarship and a gorgeous addition to the bookshelves of art lovers.Published by Evening Post Books in collaboration with the Middleton Place Foundation.
"The essays tell how these and other individuals faced the tensions and contradictions of their time and place. While some traced their lineage back to the city's first families, others were relative newcomers. Some broke new ground racially and sexually as well as artistically; others perpetuated the myths of the Old South. Some were censured at home but praised in New York, London, and Paris. The essays also underscore the significance and growth of such cultural institutions as the Poetry Society of South Carolina, the Charleston Museum, and the Gibbes Art Gallery."--BOOK JACKET.
"Through the oils of [West Fraser's] mature style ... he has achieved a level of spontaneity in the plein air tradition that captures the essence of the lowcountry." So concludes the essay by Angela D. Mack that leads everyone from connoisseurs to those who simply enjoy the artistic images of the South Carolina lowcountry into a visual feast to stir the senses. The first book of its kind dedicated to the work of this plein air impressionist, Charleston in My Time: The Paintings of West Fraser celebrates the passion and independence West Fraser exhibits in his work, his amazing eye for natural light and landscapes, and his love of Charleston and the lowcountry.
"The Charleston Renaissance chronicles a dynamic period of Southern history, detailing the artistic legacy of native and national artists whose collective image-making led to Charleston's transformation from a faded Southern capital to a premier tourist destination. Martha Severens, as art historian, curator, and former Charleston resident, introduces readers to the city's traditions and lore, and delineates their impact on the art of the day. Through her examination of the major local figures of the period - Alfred Hurry, Alice Ravenel Huger Smith, Anna Heyward Taylor, and Verner - as well as the impressive list of visiting artists - including Birge Harrison, Childe Hassam, Edward Hopper, Lilla Cabot Perry, and many more - Severens expands upon the existing scholarship, adding new depth and dimension to both the period and the place. Ultimately, by connecting the artistic advances in Charleston to the greater American art scene, Severens brings clarity to the "ancient, beautiful" city's vital role in Southern art and American regionalism."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
"Three O'Clock Dinner is a delight."--Weekly Book Review First published in 1945 to international acclaim and winner of the Southern Authors Award, Three O'Clock Dinner is Josephine Pinckney's best-selling novel about an ill-fated marriage on the eve of World War II. This powerful tale written by a consummate Charleston insider and set in the historic city resonates with universal appeal by daring to touch on topics that had been taboo. Three O'Clock Dinner reveals how the modern world has intruded in a most unwelcome way upon the Redcliffs, a Charleston family long on pedigree but short on cash. Mortified when their son "Tat" elopes with the henna-hairied daughter of the Hessenwinkles, an especially galling bourgeois clan, the Redcliffs are determined to respond with civility. They invite their son, his new wife, and her family for Sunday dinner, served at the traditional time of three in the afternoon. Tension builds across an expanse of white damask. After mint julep aperitifs, dinner claret, and Madeira toasts, a chance remark ignites the novel's climax amid a flurry of raised voices, hurt feelings, and broken china. Their new daughter-in-law's revelation further shatters the Redcliffs' well-ordered society but opens a door to forgiveness and redemption.
In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600. Organized chronologically, each of the six chapters investigates one of the goddess's alluring attributes – her golden splendor, rosy-hued complexion, enchanting fashions, green gardens, erotic anatomy, and gifts from the sea. By examining these attributes in the context of the visual arts, Compton uncovers an array of materials and techniques employed by artists, patrons, rulers, and lovers to manifest Venusian virtues. Her book explores technical art history in the context of love's protean iconography, showing how different discourses and disciplines can interact in the creation and reception of art. Venus and the Arts of Love in Renaissance Florence offers new insights on sight, seduction, and desire, as well as concepts of gender, sexuality, and viewership from both male and female perspectives in the early modern era.
This book weaves archaeology and history to illuminate this vibrant, densely packed Atlantic port city. It details the residential, commercial, and public life of the city, the ruins of taverns, markets, and townhouses, including those of Thomas Heyward, shipping merchant Nathaniel Russell, and William Aiken.
The turn of the seventeenth century was an important moment in the history of English criticism. In a series of pioneering works of rhetoric and poetics, writers such as Philip Sidney, George Puttenham, and Ben Jonson laid the foundations of critical discourse in English, and the English word "critic" began, for the first time, to suggest expertise in literary judgment. Yet the conspicuously ambivalent attitude of these critics toward criticism—and the persistent fear that they would be misunderstood, marginalized, scapegoated, or otherwise "branded with the dignity of a critic"—suggests that the position of the critic in this period was uncertain. In Inventing the Critic in Renaissance England, William Russell reveals that the critics of the English Renaissance did not passively absorb their practice from Continental and classical sources but actively invented it in response to a confluence of social and intellectual factors. Distributed for UNIVERSITY OF DELAWARE PRESS