Women Art Students in America: an Historical Study of Academic Art Instruction During the Nineteenth Century

Total Page:16

File Type:pdf, Size:1020Kb

Women Art Students in America: an Historical Study of Academic Art Instruction During the Nineteenth Century INFORMATION TO USERS This manuscript has been reproduced from the microfrhn master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aiQf 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, substandardm a r gins, 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 wiD 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 University Microfilms international A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 9117907 Women art students in America: An historical study of academic art instruction during the nineteenth century Green, Marcia Hyland, Ph.D. The American University, 1990 Copyright ©1990 by Green, Marcia Hyland. All rights reserved. UMI 300 N. Zeeb Rd. Ann Aibor, MI 48106 P..... .. ............ Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. WOMEN ART STUDENTS IN AMERICA: AN HISTORICAL STUDY OF ACADEMIC ART INSTRUCTION DURING THE NINETEENTH CENTURY by Marcia Hyland Green submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Educational Administration Signatupqs of Committee: ^ A Chair: / % , / ujlU. Dean of (the College â'jo Date 1990 The American University Washington, D.C. 20016 t e e AMÉBICM DlîIv'EnSîTY LIBRARY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. @ COPYRIGHT BY MARCIA H. GREEN 1990 ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DEDICATION To B. S. G.,III, with my love Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. WOMEN ART STUDENTS IN AMERICA: AN HISTORICAL STUDY OF ACADEMIC ART INSTRUCTION DURING THE NINETEENTH CENTURY BY Marcia Hyland Green ABSTRACT Art historians have suggested that one reason for the small number of women artists prior to the twentieth cen­ tury was limited access to appropriate artistic instruc­ tion. Current art historical texts on nineteenth-century American art have given very little attention to women artists of the period. It was the researcher's goal in the present study to determine if a lack of appropriate edu­ cational opportunities was one explanation for the obscur­ ity of nineteenth-century American women artists. There­ fore, the purpose of the research was to analyze academic art training for American women during the past century. The study examined four nineteenth-century art schools: the Pennsylvania Academy of the Fine Arts, the National Academy of Design, the Art Students League, and the Corcoran School of Art. All four schools employed the French academic model for art instruction. The "academic" approach to art training emphasized drawing instruction in ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. which elementary students copied plaster casts of antique Greek and Roman statues; advanced students drew from live, usually nude, models. The research focused on the curri­ culum, faculty, student competitions, and the educational environment of each program as it pertained to women's art education. The research findings indicated that American academic art schools during the nineteenth century provided women students with thorough and rigorous academic art instruction and that there were only minor differences in the curricular course of study for men and for women. The researcher did uncover specific instances of racism, sexual harassment, gender stereotyping, and restrictive social attitudes. However, even with these occurrences, the four schools under study provided women art students with com­ prehensive training, professional opportunities, and per­ sonal support. There was relative equality in the educa­ tional environment for male and female students. Although the study did not cover nineteenth-century European art schools, the surprising implication was that the American schools were far more progressive and offered greater opportunities than their European counterparts. Therefore, the conclusion of the study was that a lack of appropriate education cannot be adduced as the reason for the obscurity of nineteenth-century American women artists. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS Deep thanks and appreciation go to Ruby Weinbrecht of the Corcoran Gallery of Art, David Dellinger of the National Academy of Design, and Lawrence Campbell of the Art Students League. They provided invaluable archival assistance. Without their help this research could not have been conducted. I also want to express my gratitude and appreciation to Margaret Meyers of the Archives of American Art, Washington, D.C. She displayed enormous patience with a very tempermental copier. I owe especial thanks to the faculty and staff of the Art Department of The American University. They were, at all times, gracious and professional to me, a student from another discipline. Rebecca Army of the School of Education guided me through the maze of administrative paperwork surrounding the production of a dissertation. I am most appreciative of her assistance. I want to thank my dissertation committee. Dr. Bernard Hodinko, Dr. Mary D. Garrard, and Dr. Renee Sandell. Dr. Hodinko furnished essential technical advice and moral support. The scholarly writings of Dr. Garrard iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. and Dr. Sandell were particularly insightful and provided the impetus for this research. I am most indebted to them. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT ........................................... ii ACKNOWLEDGEMENTS ................................... iv LIST OF ABBREVIATIONS................................ viii Chapter 1. Introduction: Women as Artists ................ 1 Methodology ............................... 9 Definition of T e r m s .................. .. 13 2. THE ACADEMIC TRADITION: THE EUROPEAN MODEL FOR TRAINING IN THE VISUAL A R T S ............ 15 The Academy in F r a n c e .................. 20 The Royal Academy of Lo n d o n ............... 26 Curriculum in Nineteenth-Century France . 28 European Art Training for Nineteenth- Century W o m e n ...................... 35 Academic Art Education in the United S t a t e s .............................. 38 3. THE SOCIAL MILIEU: AMERICA'S RELATIONSHIP WITH ART, ARTISTS AND WOMEN ......................... 44 American Women During the Nineteenth C e n t u r y ............................ 53 America's Relationship with Women Artists in the Nineteenth Century............ 59 4. TRAINING IN THE VISUAL ARTS FOR AMERICAN WOMEN ......................................... 70 Pennsylvania Academy of the Fine Arts . 72 National Academy of Design ................ 126 Art Students L e a g u e ..................... 165 Corcoran School of A r t ................... 203 5. EDUCATIONAL ANALYSIS: FINDINGS, CONSIDERATIONS IMPLICATIONS ................................... 243 Gender Considerations in the Nineteenth- Century School Curriculum ............ 246 Cultural Considerations Regarding Nineteenth-Century Women Art Students. 250 Conclusion and Implications .............. 254 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. POSTSCRIPT ............................................258 APPENDIX A ............................................261 BIBLIOGRAPHY ....................................... 264 vil Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF ABBREVIATIONS AAA Archives of American Art PAFA Pennsylvania Academy of the Fine Arts NAD National Academy of Design ASL Art Students League CGA Corcoran Gallery of Art Vlll Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 INTRODUCTION: WOMEN AS ARTISTS "Submit yourself to
Recommended publications
  • Art 109 Slide List of Images Section I for the Exam Know the ARTIST, TITLE, STYLE, Location (For Architecture) and Be Able to An
    Art 109 Slide List of Images Section I For the exam know the ARTIST, TITLE, STYLE, location (for architecture) and be able to answer a question about the image for quizzes and to write essays. NEOCLASSICISM & ROMANTICISM 1. James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875, Early Modernism 2. Jacques-Louis David, The Oath of the Horatii, 1784, oil, Neoclassicism 3. William Blake, Nebuchadnezzar, 1795, Romanticism, color print finished in ink and watercolor on paper. 4. Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814, Neoclassicism/Romanticism oil. 5. Francisco de Goya y Lucientes, This is War (The Disasters of War Series), 1810-11, Romanticism, etching. 6. Eugene Delacroix, The Lion Hunt, 1861, oil, Romanticism. 7. Richard Parkes Bonington, A Scene of the French Coast, 1825, French Landscape. 8. John Constable, The Hay Wain, 1819-21, Romantic Landscape Painting, oil. REALISM 9. Jean-Francois Millet, The Angelus, 1857-9, French Realism, oil on canvas. 10. Honore Daumier, Rue Transnonain, April 15, 1834 (published in L’Association Mensuelle, July 1834, French Realism, lithograph 11. Gustave Courbet, A Burial at Ornans, 1849-50, French Realism, oil on canvas 12. Rosa Bonheur, Ploughing in the Nivernais, 1849, French Realism, oil 13. William Holman Hunt, The Hireling Shepherd, 1851, Pre-Raphaelite, oil 14. Edouard Manet, Dejeuner sur l’herbe (Luncheon on the Grass), 1863, French Realism, oil 15. Winslow Homer, Prisoners from the Front, 1866, American Realism, oil on canvas 16. Thomas Eakins, The Gross Clinic, 1875, American Realism, oil 17. Henry Ossawa Tanner, The Banjo Lesson, 1893, American Realism, oil 18.
    [Show full text]
  • Valeska Soares B
    National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work.
    [Show full text]
  • Caroline Peart, American Artist
    The Pennsylvania State University The Graduate School School of Humanities MOMENTS OF LIGHT AND YEARS OF AGONY: CAROLINE PEART, AMERICAN ARTIST 1870-1963 A Dissertation in American Studies by Katharine John Snider ©2018 Katharine John Snider Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 The dissertation of Katharine John Snider was reviewed and approved* by the following: Anne A. Verplanck Associate Professor of American Studies and Heritage Studies Dissertation Advisor Chair of Committee Charles Kupfer Associate Professor of American Studies and History John R. Haddad Professor of American Studies and Popular Culture Program Chair Holly Angelique Professor of Community Psychology *Signatures are on file in the Graduate School ii ABSTRACT This dissertation explores the life of American artist Caroline Peart (1870-1963) within the context of female artists at the turn of the twentieth century. Many of these artists’ stories remain untold as so few women achieved notoriety in the field and female artists are a relatively new area of robust academic interest. Caroline began her formal training at The Pennsylvania Academy of the Fine Arts at a pivotal moment in the American art scene. Women were entering art academies at record numbers, and Caroline was among a cadre of women who finally had access to formal education. Her family had the wealth to support her artistic interest and to secure Caroline’s position with other elite Philadelphia-area families. In addition to her training at the Academy, Caroline frequently traveled to Europe to paint and she studied at the Academie Carmen.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • Art Hand-Book, Sculpture, Architecture, Painting
    :. •'t-o^ * ^^' v^^ ^ ^^^^\ ^^.m <. .*^ .. X 0° 0^ \D^ *'ir.s^ A < V ^^; .HO^ 4 o *^,'^:^'*.^*'^ "<v*-^-%o-' 'V^^''\/^ V*^^'%^ V\^ o '^^ o'/vT^^^ll^"" vy:. -rb^ ^oVv^'' '^J^M^^r^^ ^^jl.^0'rSi' ^oK °<<. ^""^^ • Sculpture » Architecture * Painting Official H^NDBOOKo/ARCHITECTVRE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by -permission of C. D. Arnold, Official Photographer BUFFALO, NEW YORK, U. S. A., MAT FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, Buffalo, N. Y. Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of Congress, at Washington, D. C. • • • • • e • • •• V. • » » « » . f>t • •_••» »'t»» » » » * • • . CONGRESS, Two Copiea Received JUN. 17 1901 Copyright entry EXPOSITION, 1901. CLASS ^XXc N». PAN-AMERICAN Buffalo, N. Y. , U. S. A COPY 3, Office of Director-General. March 30, 1901. To whom it may concern: — Mr. David Gray of this City has "been granted hy the Exposition a concession to publish the Art Catalogue of the Exposition^ which will he a hook in reality a memorial of the ideals of the Exposition in Archi- tecture, Sculpture and Pine Arts. WILLIAM I. BUCHANAN, Director-General The articles, pictures and catalogue descriptions in the Pan-American Art Hand Book are copyrighted, and publication thereof without permission is forbidden. \ r..k^ ^'««- -^ -"^^ ^^ This Art Hand Book was made by the publishing and printing house of ISAAC H,. BLANCHARD CO,, in the city of New Torky at 268 and 270 Canal Street, * 200 feet, iij9 inches east of Broadway.
    [Show full text]
  • Book Reviews and Book Notes
    BOOK REVIEWS AND BOOK NOTES Edited by LEONIDAS DODSON University of Pennsylvania Notable Women Of Pennsylvania. Edited by Gertrude B. Biddle and Sarah D. Lowrie. (University of Pennsylvania Press, 1942, pp. 307. $3.00.) Many of the two hundred brief biographies here presented were as- sembled in 1926 by Mrs. J. Willis Martin and her sesquicentennial com- mittee. Printed in the Public Ledger, they were mounted at the direction of its editor, the late Cyrus H. K. Curtis, in a Book of Honor. Other biographies have been added, and from the sum those which form the collection were carefully selected. The first two sketches present Madame Printz, wife of Governor Printz, and her capable daughter, Armot Papegoya, and the last four, Maud Conyers Exley, physician; Christine Wetherill Stevenson, actress, playwright, and founder of the Philadelphia Art Alliance; Marion Reilly, dean of Bryn Mawr College; and Caroline Tyler Lea, organizer and supporter of projects for human welfare. Between the two periods represented is recorded the expanding sphere of women's activities. Here are pioneer housewives who became perforce the defenders of their families. Here are Mary Jemison and Frances Slocum, exhibiting strength of character in long captivity. Here are Madame Ferree, Esther Say Harris, Maria Theresa Homet, Susanna Wright, Anna Eve Weiser. Here are patriots and soldiers-Lydia Darragh, Margaret Corbin, Molly Pitcher. Here are mothers of famous children- Anne West Gibson, Frances Rose Benit. Here are early diarists- Elizabeth Drinker, Sarah Eve, Sally Wister. Here are philanthropists- Rebecca Gratz, Helen Fleisher. Here are engravers and painters-Anna C. and Sarah Peale, Emily Sartain, Anna Lea Merritt, Mary Cassatt, Florence Este, Alice Barber Stephens, Jessie Wilcox Smith.
    [Show full text]
  • Raeburn : English School
    NOVEMBER, 1905 RAEBURN PRICE, 15 CENTS anxa 84-B 5530 Jjpueiniipntljlu. RAEBURN J3atK^anO*<iuU&C[ompany, Xtybligfjerg 42<H)auncji^treEt MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 71 NOVEMBER, 1905 VOLUME 6 a 1 1 u t* 1X CONTENTS Plate I. Portrait of Mrs. Strachan Worcester Art Museum, Worcester, Mass. Plate II. Portrait of Lord Newton National Gallery of Scotland, Edinburgh Plate III. Mrs. Ferguson and Children Owned by R. C. Munroe-Ferguson, Esq. Plate IV. Portrait of Sir Walter Scott Collection of the Earl of Home Plate V. Portrait of Sir John Sinclair Owned by Sir Tollemache Sinclair Plate VI. Portrait of Mrs. Campbell of Balliemore National Gallery of Scotland, Edinburgh Plate VII. Portrait of John Wauchope National Gallery of Scotland, Edinburgh Plate VIII. Portrait of Mrs. Scott-Moncrieff National Gallery of Scotland, Edinburgh Plate IX. Portrait of James Wardrop of Torbanehill Owned by Mrs. Shirley Plate X. The Macnab Owned by Hon. Mrs. Baillie Hamilton Portrait of Raeburn by Himself : Owned by Lord Tweedmouth Page 22 The Life of Raeburn Page 23 ’ Abridged from Edward Pinnington's ‘ Sir Henry Raeburn The Art of Raeburn Page 30 Criticisms by Armstrong, Pinnington, Brown, Van Dyke, Cole, Muther, Stevenson The Works of Raeburn : Descriptions of the Plates and a List of Paintings Page 36 Raeburn Bibliography Page 42 Photo-angravings by C. J. Ptttrs Son: Boston. Prass-work by tht Evantt Prass : Boston complata pravious ba ba consultad library A indax for numbars will found in tba Rtadar's Guida to Pariodical Litaratura , which may in any PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the 1905 volume, $1.50, payable in advance, postpaid to any address in the United States or Canada.
    [Show full text]
  • Forrest House; Gaul-Forrest House
    NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 PHILADELPHIA SCHOOL OF DESIGN FOR WOMEN Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: PHILADELPHIA SCHOOL OF DESIGN FOR WOMEN Other Name/Site Number: Moore College of Art; Forrest House; Gaul-Forrest House 2. LOCATION Street & Number: 1346 North Broad Street Not for publication: City/Town: Philadelphia Vicinity: State: PA County: Philadelphia Code: 101 Zip Code: 19121 3. CLASSIFICATION Ownership of Property Category of Property Private; X Building(s): X Public-local:__ District:__ Public-State:__ Site:__ Public-Federal:__ Structure:__ Object:__ Number of Resources within Property Contributing Noncontributing 1 ____ buildings ____ ____ sites ___ ___ structures ____ ____ objects 1 _0 Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of Related Multiple Property Listing: N/A NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 PHILADELPHIA SCHOOL OF DESIGN FOR WOMEN Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60.
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
    [Show full text]
  • CONTACT: Cara Schneider (215) 206-2034, [email protected] A
    CONTACT: Cara Schneider (215) 206-2034, [email protected] A GIANT SUMMER OF FUN & CELEBRATION AWAITS VISITORS TO GREATER PHILADELPHIA Philadelphia Flower Show Blooms Outdoors For The First Time, Faith and Liberty Discovery Center Debuts On Independence Mall & Wawa Welcome America Fourth Of July Celebration Returns PHILADELPHIA, April 22, 2021 – Greater Philadelphia has a big summer planned for visitors eager to safely explore once again. As the warm-weather season nears and COVID-19 restrictions continue to lift, the region is ready to welcome visitors back as it debuts long-awaited new and renovated museums, unveils inspired exhibits, celebrates the return of beloved annual events and opens brand new hotels that have been in the pipeline for years. Those looking to connect and reconnect with loved ones after a long hiatus from travel can tour the brand- new Faith and Liberty Discovery Center, making its debut just steps away from Independence National Historical Park’s Liberty Bell Center and Independence Hall on May 1, 2021; explore the PHS Philadelphia Flower Show outdoors for the first time in its 192-year history; and celebrate the nation’s birthday in its birthplace during the annual Wawa Welcome America Fourth of July festival. When it’s time to take a break after days spent touring the town, visitors can do so at the city’s first W Hotel or at the Guild House Hotel, a boutique property in a National Historic Landmark building, both opening in June. Another great option for spending a night or two is the ever-popular Visit Philly Overnight Hotel Package, which includes hotel parking and buy-one-get-one-free tickets for 19 attractions, many of which are hosting special exhibits this summer (see below).
    [Show full text]
  • Sanders, Geterly Women Inamerican History:,A Series. Pook Four, Woien
    DOCONIMM RIBOSE ED 186 Ilk 3 SO012596 AUTHOR Sanders, geTerly TITLE Women inAmerican History:,A Series. pook Four,Woien in the Progressive Era 1890-1920.. INSTITUTION American Federation of Teachers, *Washington, D.C. SPONS AGENCY Office,of Education (DHEW), Wastington, D.C. Wolen's Educational Egutty Act Program. PUB DATE 79 NOTE 95p.: For related documents, see SO 012 593-595. AVAILABLE FROM Education Development Center, 55 Chapel Street, Newton, MA 02160 (S2.00 plus $1.30 shipping charge) EDRS gRICE MF01 Plus Postige. PC Not.Available from EDRS. DESCRIPTORS Artists; Authors: *CiVil Rights: *Females; Feminksm; Industrialization: Learning Activities: Organizations (Groups): Secondary Education: Sex Discrioination; *Sex Role: *Social Action: Social Studies;Unions; *United States History: Voting Rights: *Womens Studies ABSTRACT 'The documente one in a series of four on.women in American history, discusses the rcle cf women in the Progressive Era (11390-1920)4 Designed to supplement high school U.S.*history. textbooks; the book is co/mprised of five chapter's. Chapter I. 'describes vtormers and radicals including Jane A3damsand Lillian Wald whs b4tan the settlement house movement:Florence Kelley, who fought for labor legislation:-and Emma Goldmanand Kate RAchards speaking against World War ft Of"Hare who,became pOlitical priscners for I. Chapter III focuses on women in factory workand the labor movement. Excerpts from- diaries reflectthe'work*ng contlitions in factor4es which led to women's ipvolvement in the,AFL andthe tormatton of the National.Wcmenls Trade Union League. Mother Jones, the-Industrial Workers of the World, and the "Bread and Roses"strike (1S12) of 25,000 textile workers in Massachusetts arealso described.
    [Show full text]
  • Encyklopédia Kresťanského Umenia
    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day
    [Show full text]