Voices of Rebellion: Gilded Age Suffragists, 1870-1920 Karma
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The American Public Art Museum: Formation of Its Prevailing Attitudes
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1982 The American Public Art Museum: Formation of its Prevailing Attitudes Marilyn Mars Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art Education Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1302 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]. THE AMERICAN PUBLIC ART MUSEUM: FORMATION OF ITS PREVAILING ATTITUDES by MARILYN MARS B.A., University of Florida, 1971 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of d~rts RICHMOND, VIRGINIA December, 1982 INTRODUCTION In less than one hundred years the American public art museum evolved from a well-intentioned concept into one of the twentieth century's most influential institutions. From 1870 to 1970 the institution adapted and eclipsed its European models with its didactic orientation and the drive of its founders. This striking development is due greatly to the ability of the museum to attract influential and decisive leaders who established its attitudes and governing pol.icies. The mark of its success is its ability to influence the way art is perceived and remembered--the museum affects art history. An institution is the people behind it: they determine its goals, develop its structure, chart its direction. -
Objectified Through an Implied Male Gaze
Lehigh Preserve Institutional Repository “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist Ganus, Linda Carol 2017 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist by Linda C. Ganus A Thesis Presented to the Graduate and Research Committee of Lehigh University in Candidacy for the Degree of Master of Arts In the Department of History Lehigh University August 4, 2017 © 2017 Copyright Linda C. Ganus ii Thesis is accepted and approved in partial fulfillment of the requirements for the Master of (Arts/Sciences) in (Department/Program). “Dear Louie:” Louisine Waldron Elder Havemeyer, Impressionist Art Collector and Woman Suffrage Activist Linda Ganus Date Approved Dr. John Pettegrew Dr. Roger Simon iii ACKNOWLEDGMENTS I would first like to thank my thesis advisor, Dr. John Pettegrew, Chair of the History Department at Lehigh University. In addition to being a formidable researcher and scholar, Prof. Pettegrew is also an unusually empathetic teacher and mentor; tireless, positive, encouraging, and always challenging his students to strive for the next level of excellence in their critical thinking and writing. The seeds for this project were sown in Prof. Pettegrew’s Intellectual U.S. History class, one of the most influential classes I have had the pleasure to take at Lehigh. I am also extremely grateful to Dr. -
The Woman Suffrage Debate 1865-1919
Dialectic of the Enlightenment in America: The Woman Suffrage Debate 1865-1919 Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät für Sprach-, Literatur- und Kulturwissenschaften der Universität Regensburg vorgelegt von Frau Borislava Borisova Probst, geboren Marinova Wohnadresse: Ludwig-Thoma-Str. 19, 93051 Regensburg Vorlage der Arbeit bei der Fakultät für Sprach-, Literatur- und Kulturwissenschaften im Jahre 2014 Druckort: Regensburg, 2015 Erstgutachter: Herr Prof. Dr. Volker Depkat, Lehrstuhl für Amerikanistik, Universität Regensburg Zweitgutachter: Frau Prof. Dr. Nassim Balestrini, Institut für Amerikanistik, Karl-Franzens- Universität Graz Dialectic of the Enlightenment in America: The Woman Suffrage Debate 1865-1919 Table of Contents: I. Introduction: I. 1. Aim of Study…………………………………………………………………..…1 I. 2. Research Situation ………………………………………………………………9 I. 2.1. Scholarly Situation on Female Suffrage ……………………………10 I. 2.2. The Enlightenment in America…………………………………..……12 I. 2.3. Dialectic of Enlightenment in America………………………….……16 I. 3. Mothodology und Sources ……………………………………………………..18 I. 3.1. Methodology………………………………………………………….18 I. 3.2. Sources………………………………………………………………30 II. Suffragist and Anti-Suffragist Pragmatics of Communication II. 1. The Progressive Era, Women and the Enlightenment…………………………33 II. 1.2. The Communication of the Suffrage Debate: The Institutionalization of the Movements…………………………….……42 II. 1.3. Organized, Public Suffrage Communication………………………………43 II. 1.4. Organized Public Anti-Suffrage Communication……………………….….67 III. Enlightenment and Inclusion: Suffrage Voices…………………………………………88 III. 1. Isabella Beecher Hooker: “The Constitutional Rights of the Women in the United States” (1888)……………90 III. 2. Carrie Chapman Catt: “Will of the People” (1910)………………………………..104 III. 3. Further Suffrage Voices………………………………………………………….…114 III. 3.1. Suffragists’ Self-understanding…………………………..……………….115 III. 3.2. Rights…………………………………………………………………..…120 III. Suffragism and Progress……………………………………………………….126 IV. -
Chefs D'œuvre De La Peinture Française Du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark
Alison McQueen exhibition review of Il était une fois...l'impressionisme: Chefs d'œuvre de la peinture française du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013) Citation: Alison McQueen, exhibition review of “Il était une fois...l'impressionisme: Chefs d'œuvre de la peinture française du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark,” Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013), http:// www.19thc-artworldwide.org/spring13/mcqueen-reviews-once-upon-a-time-impressionism. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. McQueen: Once Upon a Time...Impressionism: Great French Paintings from the Clark Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013) Il était une fois...l'impressionisme: Chefs d'œuvre de la peinture française du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark Montreal Museum of Fine Arts, Montreal October 9, 2012 – January 20, 2013 Previous venues: Palazzo Reale Milan, Italy March 2 – June 19, 2011 Musée des Impressionnismes Giverny, France July 12 – October 31, 2011 CaixaForum Barcelona, Spain November 18, 2011 – February 12, 2012 Kimbell Art Museum Fort Worth, Texas March 4 – June 17, 2012 Royal Academy of Arts London, UK July 7 – September 23, 2012 It will also travel to Japan, China, and South Korea in 2013–2014. What is at stake in the Sterling and Francine Clark Art Institute’s re-branding of itself? The exhibition and catalogue of nineteenth-century French art from the Williamstown-based institute that is currently traveling to three continents presents a new history to unsuspecting visitors: Sterling Clark, founder of the eponymous institute, was an autonomous collector who selected and acquired works with complete independence. -
Winning the Franchise
Please cite as: Spinzia, Raymond E., “Winning the Franchise – Long Island Activists in the Fight for Woman’s Suffrage and Their Opponents, Long Island’s Anti-Suffragists, 2018, revised 2021.” www.spinzialongislandestates.com W i n n i n g t h e F r a n c h i s e: L o n g I s l a n d A c t i v i s t s i n t h e F i g h t f o r W o m a n’s S u f f r a g e a n d T h e i r O p p o n e n t s , L o n g I s l a n d’s A n t i - S u f f r a g i s t s 1 ″Men who disapprove of Votes for Women are divided into two classes, those who are married to women who lack intelligence and who are prone to measure other women in the same bushel with their wives, and those men whose wives are so bright that the men are afraid to give them a chance at the ballot." Dr. George Edwin Rice, DDS Maywood, 407 Middle Road, Bayport [The Suffolk County News August 23, 1913, p. 4.] 1916 Since many of house numbers cited were from the early 1900s, please be aware that they may not correspond to the present day addresses. A n t i – S u f f r a g i s t s: Backus, Harriet Ivins Davis (Mrs. -
Lucy Hargrett Draper Center and Archives for the Study of the Rights
Lucy Hargrett Draper Center and Archives for the Study of the Rights of Women in History and Law Hargrett Rare Book and Manuscript Library Special Collections Libraries University of Georgia Index 1. Legal Treatises. Ca. 1575-2007 (29). Age of Enlightenment. An Awareness of Social Justice for Women. Women in History and Law. 2. American First Wave. 1849-1949 (35). American Pamphlets timeline with Susan B. Anthony’s letters: 1853-1918. American Pamphlets: 1849-1970. 3. American Pamphlets (44) American pamphlets time-line with Susan B. Anthony’s letters: 1853-1918. 4. American Pamphlets. 1849-1970 (47). 5. U.K. First Wave: 1871-1908 (18). 6. U.K. Pamphlets. 1852-1921 (15). 7. Letter, autographs, notes, etc. U.S. & U.K. 1807-1985 (116). 8. Individual Collections: 1873-1980 (165). Myra Bradwell - Susan B. Anthony Correspondence. The Emily Duval Collection - British Suffragette. Ablerta Martie Hill Collection - American Suffragist. N.O.W. Collection - West Point ‘8’. Photographs. Lucy Hargrett Draper Personal Papers (not yet received) 9. Postcards, Woman’s Suffrage, U.S. (235). 10. Postcards, Women’s Suffrage, U.K. (92). 11. Women’s Suffrage Advocacy Campaigns (300). Leaflets. Broadsides. Extracts Fliers, handbills, handouts, circulars, etc. Off-Prints. 12. Suffrage Iconography (115). Posters. Drawings. Cartoons. Original Art. 13. Suffrage Artifacts: U.S. & U.K. (81). 14. Photographs, U.S. & U.K. Women of Achievement (83). 15. Artifacts, Political Pins, Badges, Ribbons, Lapel Pins (460). First Wave: 1840-1960. Second Wave: Feminist Movement - 1960-1990s. Third Wave: Liberation Movement - 1990-to present. 16. Ephemera, Printed material, etc (114). 17. U.S. & U.K. -
Nevada Club Women and Suffrage
NO POLITICS ALLOWED: NEVADA CLUB WOMEN AND SUFFRAGE ____________ A Thesis Presented to the Faculty of California State University Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Humanities ____________ by Gail Duwe Summer 2018 This study is dedicated to the Club women in Reno, Nevada’s early Twentieth Century Club. Whether suffragists or antis, you stood out as strong-minded, articulate advocates for your cause. Diminished by history, it is time to recognize the indelible mark that members of early women’s Clubs left on the fabric of feminism. Early Twentieth Century Club member Miss Echo L. Loder left the following memorable note attached to the Club’s minutes from June 7, 1894 to April 30, 1897. This is a valuable book to preserve for future years when members have forgotten the history and want to look into the past. Mrs. Anna Wardin took care of the book for many years and handed it to me before she died. I feel that it will be safer to be kept in the steel locker in the basement of the Club house. Please keep it there? There always comes a time when people want to know the origins of organizations. A very much interested member, (Miss) Echo L. Loder ii ACKNOWLEDGMENTS I would like to thank the extremely helpful staff of the Matthewson--IGT Knowledge Center, University of Nevada, Reno; University of California, Berkeley’s Bancroft Library; the California Historical Society; and, in particular, Karalea Clough and staff at the Nevada Historical Society. The assistance of these professionals was indispensable. -
Family and Friends Portraits
MUSEUM LEARNING: PLANS & RESOURCES Family and Friends Portraits Capturing people’s likenesses has been a prominent Standards subject matter in art for thousands of years. This VA:Cr2.1.6a Demonstrate openness in trying new activity will explore the connection between artist ideas, materials, methods, and approaches in making Mary Cassatt and Louisine Havemeyer, the mother of works of art and design. our founder, Electra Havemeyer Webb, and provide some tools for creating portraits of people important Resources to you. n Shelburne Museum exhibition catalog. Goals Mathews, N.M., Cassatt, M., & Cantor, J.E. (2008). Mary Cassatt: Friends and family. n learn about a special portrait by an important Shelburne Museum. artist in Shelburne Museum’s collection n Biography of Mary Cassatt, marycassat.org, n learn to create a portrait using proper proportions https://bit.ly/Cassatt-SM n create a portrait that is meaningful to you n Talking about and Looking at Portraits, The J. Paul Getty Museum, https://bit.ly/Getty3-SM Vocabulary n Art Term: Portrait, The Tate, https://bit.ly/Tate-SM Composition–the placement and arrangement of the elements of work on the canvas. n Mary Cassatt, Smithsonian American Art Museum, https://bit.ly/SAAM-SM Pastel–similar to a crayon. They are made of com- pressed oil or chalk pigments. n Mary Cassatt, Google Arts & Culture, https://bit.ly/Go Portrait–a representation of a person that often depicts an individual’s head and shoulders. Portraits can be created in any media. Mary Cassatt (American, 1844 1926), Louisine Havemeyer and Her Daughter Electra (detail), 1895. -
AFD Ep 376 Links and Notes
AFD Ep 376 Links and Notes - The Refined Sugar Trust (1887-1921) [Bill/Rachel/Kelley] - Recording May 23 ● Intro / political influence of the industry: Cane sugar is an ancient food product from southeast Asia. By the late 1400s, before Columbus’s expedition, it had become a popular and expensive luxury good in Europe, with cultivation beginning in the Atlantic islands belonging to Spain and Portugal. Columbus immediately expanded this into the Caribbean after his first voyage there, and both the Spanish and Portuguese made sugar one of the centerpieces of their colonial policies. The French and English followed suit with their own colonial activities in the Caribbean and North America, as well as in India and southeast Asia, where it had originated. Control of lucrative sugar production and also its refining became one of the major motivating forces in foreign policy and colonial policy for several centuries, from the European wars for control of Caribbean sugar hubs to the American imperialist policies for control of Cuban, Puerto Rican, and Hawaiian sugar plantations in the late 19th century. Raw sugar production in the modern age was generally closely associated with some of the most brutal slavery in the world. By the time of the industrial revolution, European consumers of all classes had come to expect cheap, plentiful sugar that was no longer a luxury. Americans did too, and due to the mercantilist policies that resulted in the Triangle Trade, they had found themselves the major hub of sugar refining – the process of turning raw cane sugar into higher-value trade goods and consumer goods like table sugar, molasses, and rum. -
View Pdfs of the Exhibit
1920 - 2020 Women’s VOTE Centennial “Forward, out of error, Leave behind the night, Forward through the darkness, Forward into light!” - Inez Milholland Celebrating the anniversary of the 19th Amendment and working toward a future of equity, respect, and justice for all. 1920 - 2020 Women’s Suffrage in the Champlain Valley he legacy of women’s rights and the fight for suffrage in the Champlain TValley is a complex story. It is a tale of countless known and unknown women and men who fought for fairness and equality, while sometimes falling into the traps of injustice themselves. Women’s suffrage is not a story of linear progress that ended when women received the right to vote with the ratification of the 19th Amendment in 1920. It is a cycle of progress and pitfalls that continues to this day. During the 19th and 20th centuries, Lake Champlain was a transportation corridor for the international exchange of goods, news, and ideas among New York, Vermont, and Québec. Each place had unique experiences with suffrage that were shaped by their local cultures, politics, and society. Major events in New York State—including the 1848 Seneca Falls Convention— often receive the most attention, but the hills and towns of New York’s North Country also played important roles in the movement. Across the lake, Vermont in the 19th century was both a bastion of progressive social and religious thought, and a sheltered and traditionalist corner of New England. Even more conservative was Québec, which kept women from voting in provincial elections until 1940. The suffrage movement was deeply linked to other progressive movements. -
Art Collecting and Shaping Publics Around the Turn of the Twentieth Century: a Philadelphia Story
ART COLLECTING AND SHAPING PUBLICS AROUND THE TURN OF THE TWENTIETH CENTURY: A PHILADELPHIA STORY A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Brian Seymour December 2017 Examining Committee Members: Dr. Tracy Cooper, Advisory Chair, Art History Dr. Gerald Silk, Art History Dr. Erin Pauwels, Art History Dr. Philip Glahn, Painting, Tyler School of Art ABSTRACT My dissertation traces the rhetoric of two Philadelphians, attorney John G. Johnson and Dr. Albert C. Barnes, as they collected art with a specific public in mind, namely working Philadelphians around the turn of the twentieth century. The individual bequests and resulting legacy institutions of Johnson and Barnes serve as rich case studies to assess the efforts of collectors to control the reception of their respective collections by the public. These particular histories, exceptional in their own ways, are juxtaposed to offer an objective view onto previously understudied challenges to the status quo, mounted by a few collectors by way of unique discursive practices and the establishment of distinctive single collection institutions, in the formative period for American art museums around the turn of the twentieth century in Philadelphia. The focus is on the two men’s often shared, but eventually divergent, ideas pertaining to art and the public, which can be tracked to relevant discourses that informed those views. At stake in this investigation is the relative tension between the agency of the collectors and the repurposing of their individual collections by future publics. More plainly, the goal is to study the interrelated narratives of collectors, Johnson and Barnes, as they unfolded over the course of the long twentieth century with an eye to what is gained or lost from the unraveling of the deliberate plans left by the collectors, which in both of these cases, included relocating the art work from the original site, leading to coincident shifts in the manner of display and targeted audience. -
Reclaiming Our Voice Levin G
Women at NJ Women's Party headquarters in Newark doing both suffrage and war work. When the United States entered World War I, suffragists and anti-suffragists worked with the Red Cross in relief work, organized women to sew, knit, and prepare surgical dressings for the military, and, like the women in this photo, raise money in Liberty Loan drives. Suffragists believed their active loyalty and support would make woman suffrage inevitable. Reclaiming Our Voice | Carol Simon Levin | www.GardenStateLegacy.com GSL 47 March 2020 n March 31, 1776, Abigail Adams was minding farm, family, and Ofinances in Massachusetts when she wrote a letter to her husband John, a delegate at the Continental Congress in Philadelphia: I long to hear that you have declared independence—and by the way in the new code of laws which I suppose it will be necessary for you to make I desire you would remember the ladies, and be more generous and favorable to them than your ancestors. Do not put such unlimited power into the hands of the husbands. Remember all men would be tyrants if they could. If particular care and attention is not paid to the ladies we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice, or representation . Abigail Adams (1744-1818) Two weeks later, on April 14, 1776, her husband replied that she was by Crina Magalio “so saucy” and he could not “but laugh” at her “extraordinary code of laws.” After commenting that freed northern slaves, apprentices, and the poor were demanding equal rights, he worried “Another tribe Abigail Adams and the other drawings of women's rights [women], more numerous and powerful than all the rest,” would also be activists are the work of some of the talented artists arguing for equality.