Breaking the Mold of True Womanhood: Expressions of Feminine

Total Page:16

File Type:pdf, Size:1020Kb

Breaking the Mold of True Womanhood: Expressions of Feminine © COPYRIGHT by Sarah Hines 2017 ALL RIGHTS RESERVED For Laura Elizabeth BREAKING THE MOLD OF TRUE WOMANHOOD: EXPRESSIONS OF FEMININE AGENCY IN THE SCULPTURAL CAREERS OF HARRIET HOSMER, EDMONIA LEWIS, AND VINNIE REAM BY Sarah Hines ABSTRACT Harriet Hosmer, Edmonia Lewis, and Vinnie Ream were successful female American sculptors active during the second half of the nineteenth century. As women in a traditionally male profession, they carefully negotiated their expressions of feminine propriety and their ambitions carefully. At a time when women were expected to act only within domestic spaces, these three women operated to varying degrees in the public sphere. Although they had to conform to the expectations of their patrons and meet standards of proper feminine decorum, each woman found ways to challenge cultural norms of femininity in their professional spheres and in their work. These three women performed different aspects of ideal femininity, each using it as a tool to create a sort of façade of “True Womanhood,” which often allowed them to continue to function with greater agency, having deflected attention from behavior that was considered too masculine. Consequently, the careers of Hosmer, Lewis, and Ream occupy spaces of tension and contradiction. Their work simultaneously resisted the restrictive conventions of femininity and conformed to standards of feminine propriety. ii ACKNOWLEDGMENTS I would like to thank my advisor, Dr. Helen Langa, for her insight and support, and for always pushing me to improve. I would also like to thank Dr. Andrea Pearson and Dr. Kim Butler Wingfield for their encouragement and advice, as well as their genuine interest in this project. I am thankful to Grace Fiacre for her help with editing this thesis, and whose friendship has been essential to me during this project. I am grateful to the entire faculty of the American University Art History department for the opportunity to present part of this project at the 14th Annual Graduate Symposium in the History of Art. I am also indebted to Dr. Renée Ater, at the University of Maryland, who first introduced me to the remarkable artists that are the subject of this thesis and who set me on the path of studying American art, which has proved to be incredibly rewarding. I am further grateful to my parents and my sister whose love, encouragement, and confidence in me have been invaluable throughout my time at American University. Additionally, the community at St. Paul’s Lutheran Church has provided amazing support, as well as a place of respite from the pressures of school and work, without which this project could not have been accomplished. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii ACKNOWLEDGMENTS ............................................................................................................. iii LIST OF ILLUSTRATIONS .......................................................................................................... v INTRODUCTION .............................................................................................................. 1 CHAPTER 1 CAPTIVITY, RESISTANCE, AND FEMALE EMPOWERMENT: NARRATIVES OF WOMEN’S STRENGTH IN THE WORK OF HARRIET HOSMER ............................................................................................................................ 7 CHAPTER 2 ABOLITIONISM AND AGENCY: REPRESENTATIONS OF BLACK WOMANHOOD BY EDMONIA LEWIS ......................................................... 26 CHAPTER 3 PUBLIC ART AND THE FEMALE SCULPTOR: VINNIE REAM’S MONUMENTS TO CIVIL WAR HEROES .................................................... 44 CONCLUSION ................................................................................................................. 62 ILLUSTRATIONS ....................................................................................................................... 64 BIBLIOGRAPHY ......................................................................................................................... 90 iv LIST OF ILLUSTRATIONS Figure 1. Harriet Hosmer in Her Studio, n.d. engraving (clipping from an unidentified periodical), The Schlesinger Library, Radcliffe Institute, Harvard University. ............... 64 Figure 2. J.J. Hawes, Portrait of Harriet Hosmer, n.d., carte de visite, Schlesinger Library, Radcliffe Institute, Harvard University. ............................................................................ 65 Figure 3. Hiram Powers, The Greek Slave, modeled 1841-43, carved 1846, marble, National Gallery of Art, Washington D.C. ...................................................................................... 66 Figure 4. “The Greek Slave, by Hiram Power [sic],” Illustrated London News, August 9, 1951: 185. .................................................................................................................................... 67 Figure 5. Erastus Dow Palmer, The White Captive, modeled 1857-58, carved 1858-59, marble, Metropolitan Museum of Art, New York. ........................................................................ 68 Figure 6. Harriet Hosmer, Puck, modeled 1854, carved 1856, marble, Smithsonian American Art Museum, Washington, D.C. .............................................................................................. 69 Figure 7. Harriet Hosmer, Daphne, modeled 1853, carved 1854, marble, Metropolitan Museum of Art, New York. ............................................................................................................. 70 Figure 8. Harriet Hosmer, Medusa, 1854, marble, Detroit Institute of Arts. ................................ 70 Figure 9. Harriet Hosmer, Zenobia in Chains, 1861, marble, St. Louis Museum of Art. ............ 71 Figure 10. Harriet Hosmer, Beatrice Cenci, 1856, marble, Mercantile Library, St. Louis, Missouri. ........................................................................................................................... 72 Figure 11. Stefano Maderno, St. Cecelia, 1600, marble, Santa Cecelia in Trastevere, Rome. ..... 72 Figure 12. Edmonia Lewis, The Old Arrow Maker and His Daughter, modeled 1866, carved 1872, marble, Smithsonian American Art Museum, Washington, D.C. .......................... 73 Figure 13. Edmonia Lewis, The Marriage of Hiawatha, 1872, marble, Kalamazoo Institute of Arts, Kalamazoo Michigan. .............................................................................................. 73 Figure 14. Hiram Powers, The Greek Slave, carved 1866, marble, Brooklyn Museum of Art, Brooklyn, NY. ................................................................................................................... 74 Figure 15. Edmonia Lewis, Forever Free, The Morning of Liberty, 1867, marble, Howard University Art Museum. ................................................................................................... 75 Figure 16. Edmonia Lewis, Hagar, carved 1875, marble, Smithsonian American Art Museum, Washington, D.C. Gift of Delta Sigma Theta Sorority, Inc. ............................................. 76 Figure 17. John Quincy Adams Ward, The Freedman, modeled 1863, cast 1891, The Metropolitan Museum of Art, New York. ........................................................................ 77 v Figure 18. Thomas Ball, The Freedmen’s Memorial, 1875, bronze, Lincoln Park, Washington, D.C. ................................................................................................................................... 77 Figure 19. Edmonia Lewis, The Death of Cleopatra, carved 1876, marble, Smithsonian American Art Museum, Washington, D.C. Gift of the Historical Society of Forest Park, Illinois. .............................................................................................................................. 78 Figure 20. William Wetmore Story, Cleopatra, modeled 1858, carved 1869, marble, The Metropolitan Museum of Art, New York. ........................................................................ 79 Figure 21. Vinnie Ream at work upon her Lincoln bust which rests upon the stand she used in the White House while President Lincoln posed for her, c. 1865, Library of Congress Prints and Photographs Division, Washington, D.C. ........................................................ 80 Figure 22. George Caleb Bingham, Miss Vinnie Ream, 1876, Oil on Canvas, 40 x 30 in., State Historical Society of Missouri, Columbia Missouri. ........................................................ 81 Figure 23. George Caleb Bingham, Portrait of Vinnie Ream Hoxie with a harp, 1876, Oil on Canvas, 41 x 51 in., Wisconsin Historical Society Museum Collection. ......................... 82 Figure 24. Roman statue of Erato, 2nd century C.E., marble, Ny Carlsberg Glyptotek, Copenhagen, Denmark ...................................................................................................... 83 Figure 25. Vinnie Ream, Abraham Lincoln, 1871, marble, United States Capitol Building, Washington, D.C. .............................................................................................................. 84 Figure 26. Antonin Mercié, Robert E. Lee, 1890, bronze, Monument Avenue, Richmond, Virginia. ............................................................................................................................ 85 Figure 27. Sarah Fisher Ames, Abraham Lincoln, 1868, marble, Woodmere Art Museum, Philadelphia, Pennsylvania. .............................................................................................
Recommended publications
  • AFRO-AMERICAN ART the METROPOLITAN MUSEUM of ART Selections of Nineteenth-Century Afro-American Art
    <^ ? AFRO-AMERICAN ART THE METROPOLITAN MUSEUM OF ART Selections of Nineteenth-Century Afro-American Art Selections of Nineteenth-Century Afro-American Art June 19-August 1,1976 Catalogue by Regenia A. Perry The Metropolitan Museum of Art, New York ON THE COVER: Ashur Moses Nathan and Son by Jules Lion. Pastel on canvas, ca. 1845. Lent by Francois Mignon, Natchitoches, Louisiana. Pho­ tograph by Don R. Sepulvado, Natchitoches, Louisiana. Copyright © 1976 by The Metropolitan Museum of Art 1 he Metropolitan Museum is pleased to present the ex­ hibition Selections of Nineteenth-Century Afro-American Art as part of our observance of the nation's Bicentennial celebration. We are grateful for the generosity of the lenders, whose cooperation made the exhibition possible, and we congratulate Dr. Regenia A. Perry, who or­ ganized the show. It is fitting at this time not only to ex­ amine this important aspect of our national heritage but to view it in the broader context of the history of Ameri­ can art as represented in the collection of The Metropoli­ tan Museum of Art. THOMAS HOVING Director ACKNOWLEDGMENTS I would like to express my gratitude to the School of the Arts at Virginia Commonwealth University for granting me a leave of ab­ sence to work on this project during the academic year 1975—1976, to the Andrew W. Mellon Foundation for funding the fellowship at The Metropolitan Museum of Art which I received during this year, to The Metropolitan Museum of Art for working with me in present­ ing this exhibition, and to the numerous institutions and private col­ lectors who have generously lent their works.
    [Show full text]
  • Picturing America at the KIA………………………………………………………………………………………3
    at the Kalamazoo Institute of Arts 314 S. Park Street Kalamazoo, MI 49007 269/349-7775, www.kiarts.org 2 Table of Contents Information about Picturing America at the KIA………………………………………………………………………………………3 The Art John Singleton Copley, Mars, Venus and Vulcan: The Forge of Vulcan , 1754……………………….…………..………………4 Charles Willson Peale, The Reverend Joseph Pilmore , 1787……………………………………………………………………...5 John James Audubon, White Headed Eagle , 1828………………………………………………………………………..………...6 Hiram Powers, George Washington , 1838-1844……………………………………………………………………………………..7 Severin Roesen, Still Life with Fruit and Bird’s Nest , n.d………………………………………..…………………………………..8 Johann Mongels Culverhouse, Union Army Encampment , 1860…………………………………………………………………..9 William Gay Yorke, The Great Republic , 1861…………………………………………………………………..………………….10 Eastman Johnson, The Boy Lincoln , 1867………………………………………………………………………………….……….11 Robert Scott Duncanson, Heart of the Andes , 1871……………………………………………………………..………………...12 Albert Bierstadt, Mount Brewer from Kings River Canyon , 1872……………………………………………………..……..........13 Edmonia Lewis, Marriage of Hiawatha , 1872………………………………………………………………………….…………….14 Jasper Francis Cropsey, Autumn Sunset at Greenwood Lake, NY , 1876…………………………………………….…………15 Henry Ossawa Tanner, The Visitation , 1890-1900……………………………………………………..…………………………..16 Frederick William MacMonnies, Nathan Hale , 1890………………………………………………………………………………..17 William Merritt Chase, A Study in Pink (Mrs. Robert MacDougal), 1895………………………………………………..……….18 Alfred Stieglitz, The Steerage , 1907…………………………………………………………………………………………...........19
    [Show full text]
  • Artistic Identity in the Published Writings of Margaret Thomas (C1840-1929)
    University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1993 Artistic identity in the published writings of Margaret Thomas (c1840-1929) Lynn Patricia Brunet University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Brunet, Lynn Patricia, Artistic identity in the published writings of Margaret Thomas (c1840-1929), Master of Creative Arts (Hons.) thesis, School of Creative Arts, University of Wollongong, 1993.
    [Show full text]
  • (Pdf) Download
    Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air
    [Show full text]
  • Winter 2009 (Vol. 32 – Issue 2)
    Humanitas Vol. 32 Winter 2009 Issue 2 A Message From the OCC Table of Contents President An Invitation to Attend the 3 Dear OCC Members, Ohio Junior Classical League Convention Please allow me to begin this message by thank- ing Gwen Compton-Engle of John Carroll Uni- William Wetmore Story and versity for her efforts in putting together this past year’s Ohio Classical Conference. All of “Black” Cleopatra Cynthia King, Wright State 4 those in attendance greatly enjoyed all of the presentations given throughout the weekend. University During discussions at the meeting, a common Vergil Week at Case Western 10 theme that emerged was the future of Classics Programs at the High School and University Reserve University Level in the state of Ohio. Many high school teachers expressed a concern about the recent OCC Scholarship Information 12 push to add courses in Chinese, potentially at the expense of the Latin programs at their in- OCC Offi cers and Council 16 stitutions. If you are aware of a High School Program whose existence is threatened, please contact the OCC President as soon as possible so that the OCC can take the appropriate ac- tion. During Saturday’s panel discussion on recruit- ing students, the participants put forth a num- ber of helpful suggestions to increase commu- nication between High School teachers and University professors of the Classics. Many University professors expressed a desire to be able to directly contact students potentially interested in studying Classics at their univer- sity. In an attempt to meet this need, please see inside this edition of Humanitas an invitation to college professors to attend the Ohio Junior Classical League Convention in 2009.
    [Show full text]
  • The Seated Cleopatra in Nineteenth Century American Sculpture
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 The Seated Cleopatra in Nineteenth Century American Sculpture Kelly J. Gotschalk Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4350 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE The Seated Cleopatra in Nineteenth Century AmericanSculpture by Kelly J. Gotschalk Director of Graduate Studies � Dean, School of the Arts Dean, School of Graduate Studies �////PP? Date THE SEATED CLEOPATRA INNINETEENTH CENTURY AMERICAN SCULPTURE by Kelly J. Gotschalk B.F.A., Virginia Commonwealth University, 1990 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements forthe Degree Master of Arts Richmond, Virginia November, 1997 ACKNOWLEDGMENTS I would like to thank Dr. Fredrika Jacobs and Dr. Charles Brownell fortheir invaluable guidance andendless encouragement in the preparation of this thesis. I would also like to thank my husband, Tom Richards, and my family for their constant support and understanding. In addition, my sincere thanks to my co-workers, Amanda Wilson, Christin Jones and Laurel Hayward fortheir friendship, proofreadingand accommodating a few spur-of-the-moment research trips. ii CONTENTS ACKNOWLEDGMENTS.. .. .. .. .. .. .. 11 LIST OF ILLUSTRATIONS. iv ABSTRACT ......................................... V JNTRODUCTION.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ e w rite r free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 THE INFUSION OF AFRICAN AMERICAN ART FROM EIGHTEEN-EIGHTY TO THE EARLY NINETEEN-NINETIES FOR MIDDLE AND HIGH SCHOOL ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ronald Wayne Claxton, B.S., M.A.E.
    [Show full text]
  • The Studio Homes of Daniel Chester French by Karen Zukowski
    SPRING 2018 Volume 25, No. 1 NEWSLETTER City/Country: The Studio Homes of Daniel Chester French by karen zukowski hat can the studios of Daniel Chester French (1850–1931) tell us about the man who built them? He is often described as a Wsturdy American country boy, practically self-taught, who, due to his innate talent and sterling character, rose to create the most heroic of America’s heroic sculptures. French sculpted the seated figure in Washington, D.C.’s Lincoln Memorial, which is, according to a recent report, the most popular statue in the United States.1 Of course, the real story is more complex, and examination of French’s studios both compli- cates and expands our understanding of him. For most of his life, French kept a studio home in New York City and another in Massachusetts. This city/country dynamic was essential to his creative process. BECOMING AN ARTIST French came of age as America recovered from the trauma of the Civil War and slowly prepared to become a world power. He was born in 1850 to an established New England family of gentleman farmers who also worked as lawyers and judges and held other leadership positions in civic life. French’s father was a lawyer who eventually became assistant secretary of the U.S. Treasury under President Grant. Dan (as his family called him) came to his profession while they were living in Concord, Massachusetts. This was the town renowned for plain living and high thinking, the home of literary giants Amos Bronson Alcott, Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau at Walden Pond nearby.
    [Show full text]
  • Zenobia: Empress of the East
    ZENOBIA: EMPRESS OF THE EAST EXPLORING ZENOBIA’S WORLD. THE INCREDIBLE RISE AND FALL OF THE CITY OF PALMYRA 10 JULY 2009 Zenobia Lost and Found (updated) Is this is the little woman who made the big statue? I have written about Zenobia In Chains, the monumental marble statue of Queen Zenobia which was recently installed at the Huntington Library (The Huntington Makes Space -- For Zenobia) -- and, a year earlier, about Harriet Hosmer, the sculptor who created this great icon (Zenobia is Back in Ameri- ca). Hosmer was the artistic leader of the “White Marmorean Flock” in Rome (a quip by Henry James), a circle of strong-minded, mostly expatriate, and fiercely independent female artists. Hosmer lived as a professional sculptor, working in the neoclassical style of the time. She had patrons in Italy and in America and won some sculptural commissions against all-male competition -- no mean feat in the middle of the 19th century. Zenobia In Chains (1859) was the first of Hosmer’s three celebrated large-scale statues of female sovereigns. The second (1868) was a portrait from life of her friend (and rumoured lover), Maria So- phia, a Bourbon princess who became the last Queen of Naples. Unfortunately for the commission, the queen and King Francis II had to flee into exile when Garibaldi tossed them out of Naples on his way to re-unifying Italy. The third queen was another larger-than-life statue of Isabella of Castile. Hosmer imagined her as a co-discoverer of the New World, and pictured her “Giving Her Jewels to Columbus” to finance his epic voyage of exploration.
    [Show full text]
  • Guide to State Statues in the National Statuary Hall Collection
    U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN CVC 19-107 Edition V Senator Mazie Hirono of Hawaii addresses a group of high school students gathered in front of the statue of King Kamehameha in the Capitol Visitor Center. TOM FONTANA U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN STATE PAGE STATE PAGE Alabama . 3 Montana . .28 Alaska . 4 Nebraska . .29 Arizona . .5 Nevada . 30 Arkansas . 6 New Hampshire . .31 California . .7 New Jersey . 32 Colorado . 8 New Mexico . 33 Connecticut . 9 New York . .34 Delaware . .10 North Carolina . 35 Florida . .11 North Dakota . .36 Georgia . 12 Ohio . 37 Hawaii . .13 Oklahoma . 38 Idaho . 14 Oregon . 39 Illinois . .15 Pennsylvania . 40 Indiana . 16 Rhode Island . 41 Iowa . .17 South Carolina . 42 Kansas . .18 South Dakota . .43 Kentucky . .19 Tennessee . 44 Louisiana . .20 Texas . 45 Maine . .21 Utah . 46 Maryland . .22 Vermont . .47 Massachusetts . .23 Virginia . 48 Michigan . .24 Washington . .49 Minnesota . 25 West Virginia . 50 Mississippi . 26 Wisconsin . 51 Missouri . .27 Wyoming . .52 Statue photography by Architect of the Capitol The Guide to State Statues in the National Statuary Hall Collection is available as a free mobile app via the iTunes app store or Google play. 2 GUIDE TO STATE STATUES IN THE NATIONAL STATUARY HALL COLLECTION U.S. CAPITOL VISITOR CENTER AlabaMa he National Statuary Hall Collection in the United States Capitol is comprised of statues donated by individual states to honor persons notable in their history. The entire collection now consists of 100 statues contributed by 50 states.
    [Show full text]
  • Fitchburg's Abolitionist Legacy: Anti-Slavery Pageants at the Fitchburg Normal School, 1911-1932
    Summer 2020 • Historical Journal Massachusetts of Pageant at Fitchburg Normal School, 1930 Pageants were popular teaching tools at the Fitchburg Normal School. College students training to be teachers developed numerous plays and performances for the 1st-8th grade “training school” students with whom they worked. Photo Source: Digital Commonwealth. 60 61 Fitchburg’s Abolitionist Legacy: Anti-Slavery Pageants at the Fitchburg Normal School, 1911-1932 DaRRen baRRy Abstract: !is article examines the Fitchburg Normal School’s anti-slavery pageant and its use as a tool for educating future teachers and public school children. !e Historical Pageant to Illustrate the Contest Between Slavery and Freedom aimed to teach students about the evils of human bondage and the Northern Civil War e"ort to abolish it. Fitchburg was home to widespread anti- slavery activism during the decades before the Civil War. Many of the pageant’s long and varied themes can be connected to local Fitchburg events. Although the pageant resisted the then-popular romanticizing of the Civil War that erased slavery and racial inequality as primary causes, it also demonstrates the limitations of early twentieth-century American progressivism. For example, it portrayed African Americans as mere bystanders to the abolitionist drama. !is article adds to our knowledge about the nation’s #rst teacher training or “normal” schools by illuminating the content taught at these in$uential institutions, particularly on the important topics of slavery and the Civil War. More signi#cantly, it sheds light on how normal school graduates may have translated that content material to their own students after being hired as classroom teachers all over the country.
    [Show full text]
  • Harriet Hosmer, the American Sculptor.” New England Magazine Nov
    Harriet Goodhue Hosmer, 1830-1908 A Research Guide Watertown Free Public Library, Watertown, MA Prepared by Autumn Haag, MISt, Library Volunteer, October, 2008. Biography: Harriet Goodhue Hosmer was born in Watertown, MA in 1830, the only surviving child of Dr. Hiram Hosmer and Sarah Grant, both of whom came from old New England families. After the death of her mother and siblings, her father encouraged her to strengthen herself by engaging in outdoor activities. She attended Mrs. Sedgwick’s School in Lenox, MA, where she met Fanny Kemble, and life-long friend Cornelia Crow of St. Louis. Recognizing her sculpting skills, Hosmer wished to take anatomy lessons which were not a possibility for her in Boston. Cornelia’s father, Wayman Crow, used his influence to facilitate Harriet’s matriculation at the Missouri Medical College, where she took classes in anatomy. After leaving St. Louis and returning home to Watertown, she moved to Rome, where she became the first student of the English sculptor John Gibson. While in Rome, she became associated with expatriate authors such as Nathaniel Hawthorne, Robert Browning and Elizabeth Barrett Browning, as well as artists Anne Whitney (also from Watertown) and Edmonia Lewis. Hosmer moved back to Watertown later in life, and spent her last years working on the invention of a perpetual motion machine. Scope and Content: The collection consists of primary and secondary material related to the life and work of Harriet Goodhue Hosmer. Primary material includes eight works of sculpture by Hosmer, eight of her personal effects, including a letter from Robert Browning and Elizabeth Barrett Browning, correspondence (about Hosmer and her work), and modern photographs of her sculptures from around the world.
    [Show full text]