DOCSLIB.ORG

American University Thesis and Dissertation Template for PC 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American University Thesis and Dissertation Template for PC 2016 THOMAS COLE’S THE CLOVE, CATSKILLS: A NATIVE “PAST” FOR A SUSTAINABLE FUTURE By Michael Quituisaca Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Art History Chair: Nika Elder, Ph.D. Ying-Chen Peng, Ph.D. Dean of the College of Arts and Sciences May 4, 2020 Date 2020 American University Washington, D.C. 20017 © COPYRIGHT by Michael Quituisaca 2020 ALL RIGHTS RESERVED For David THOMAS COLE’S THE CLOVE, CATSKILLS: A NATIVE “PAST” FOR A SUSTAINABLE FUTURE BY Michael Quituisaca ABSTRACT From the beginning of his career, Thomas Cole was known for his unique vision and appreciation of the American wilderness. His early paintings of the Catskill Mountains in upstate New York gained critical praise for their embrace of the wild elements of nature and rejection of the industrialization that came to define the region in the early 19th century. The Clove, Catskills exhibits these characteristics. In this work, Cole depicted the Kaaterskill Clove – a popular gorge and tourist destination – as a remote and wild site, absent of any markers of tourism or the tanning factories that were rampantly spreading through the mountains at the time. Because Cole depicts the Clove as uncultivated and wild, scholars have read this work as emblematic of his anti-industrial sentiments. The discovery of the pentimento of a Native American figure in the composition – made visible after a cleaning in 1964 – has served to reinforce this narrative; for example, scholars have interpreted this figure as a ghostly reminder of the region before industrialization and white settlement. This thesis, by contrast, interprets this work in light of Cole’s interest in Native American history. By drawing on the artist’s own letters and the native history of the region, I argue that the painting represents Kaaterskill Clove as a self-sufficient ecosystem, as the Mohican and Esopus would have seen it. In his attempt to envision a sustainable future for the region, Cole inadvertently adopted, even appropriated, a Native American perspective on nature. The painting thus offers a vision of the future for the Catskill region—one where resources are sourced in a sustainable manner, in line with Native American philosophy. i ACKNOWLEDGMENTS This thesis is indebted to my time as a Cole Fellow at the Thomas Cole National Historic Site and getting the opportunity to work support on the exhibition Picturesque and Sublime: Thomas Cole’s Transatlantic Inheritance in 2018. The Clove, Catskills was one of a select group of Cole paintings chosen for the exhibition and was subsequently my first experience with it. Appropriately, it was in the gallery of Thomas Cole’s reconstructed studio in the Catskills where the ideas expressed in this thesis began growing. The staff at the Thomas Cole National Historic Site were paramount during this project’s beginnings. I thank Director Betsy Jacks and curator Kate Menconeri for allowing me access to the Ellwood Parry Archive at the site, as well as their for mentorship. Also, I am thankful for 2018-2019 Cole Fellow Peter Fedoryk’s work towards transcribing Thomas Cole’s journals and providing me with the journal entries that proved essential to this thesis. Jonathan Palmer at the Vedder Library in Coxsackie, New York also helped with my primary research, and I am grateful for his guidance and friendship. Keith Gervase at The New Britain Museum of American Art also deserves thanks for giving me access to The Clove, Catskills’ object file and answering questions that arose from it. I owe the completion of this thesis to the continued support and guidance from the professors of Art History at American University throughout this process. I am especially grateful to Dr. Nika Elder for providing her expertise and encouragement, especially during the last leg of this project when the COVID-19 pandemic threatened this project’s completion. Her fortitude, as well as that of the entire department staff, provided a guiding light through uncertain times. It has been an honor to work under this dedicated team. Lastly, words cannot express the gratitude I have for the friends that I have made during my time at AU. Their encouragement meant more than they will ever know, and I credit them for ii helping through some of the most difficult challenges that emerged during this process. I am thankful for Taylor Curry, Sarah Froonjian, Shereka Mosley, Claire Sandberg, and Abby Swaringam for their friendship, and a special thanks to David Quituisaca and Cynthia Hodge- Thorne for being the greatest support system that any aspiring scholar could ever ask for. iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................... i LIST OF ILLUSTRATIONS .......................................................................................................v INTRODUCTION .......................................................................................................... 1 CHAPTER 1 THE CLOVE, CATSKILLS, AND A NATIVE AMERICAN PERSPECTIVE ON NATURE ................................................................................. 7 CHAPTER 2 THE CLOVE, CATSKILLS AS A VISION OF THE FUTURE ................22 CONCLUSION .............................................................................................................36 ILLUSTRATIONS....................................................................................................................38 BIBLIOGRAPHY .....................................................................................................................39 iv LIST OF ILLUSTRATIONS Figure 1. John Rubens Smith, Catskill Mountain House, 1830. Aquatint with hand-color on paper. ............................................................................................................................38 Figure 2. Thomas Cole, The Clove, Catskills, 1827. Oil on canvas. ...........................................38 Figure 3. Guy Johnson’s Map of the Six Nations, 1771. ............................................................38 Figure 4. Detail of The Clove, Catskills. The colored outline of a Native American figure. ........38 Figure 5. Thomas Cole, Kaaterskill Falls, 1826. Oil on canvas. Wadsworth Atheneum. ............38 Figure 6. Thomas Cole, The Falls of Kaaterskill, 1826. Oil on canvas. .....................................38 Figure 7. Thomas Cole, Stony Gap, Kaaterskill Clove, 1826-27. Oil on canvas. ........................38 v INTRODUCTION By 1827, Thomas Cole (1801-1848) had already established his reputation as a young phenom. The landscape paintings he presented in the inaugural show of the National Academy of Design in New York City the year prior were lauded for their unique embrace of the American wilderness. Where other painters had pictured the Northeast in a pastoral and domesticated way, Cole presented it as teeming with life, paying special attention to the components of nature: the various species of trees and foliage, cloud formations, mountains and weather in the region.1 The Clove, Catskills (1827) is one such painting. Cole’s imagined depiction of the Kaaterskill Clove—a popular nickname given to the gorge between High Peak, Roundtop, and South Mountain in the Catskills of New York—is absent of any trace of the development and industry that carved through the region in the early-19th century. The Clove, Catskills presents the popular gorge as remote, bountiful, and wild. The viewing platforms and trail markers that made this site accessible to 19th century tourists are substituted with jagged rocks and branches, a precipitous drop, and a passing thunderstorm. However, the discovery of the pentimento of a Native American figure in the composition–made visible from a cleaning in 1964-signals Cole’s awareness that despite these lands being wild, they were not uninhabited. The discovery of this pentimento invites an examination of Cole and his understanding of the Native American history of this region. While this painting was one of Cole’s earliest depictions of the Kaaterskill Clove—a subject to which he returned repeatedly—his erasure of a Native American figure from the composition came at a time when indigenous people were on Cole’s mind, appearing in his Last of the Mohican series of the same year and in paintings one 1 Kornhauser, Elizabeth M. “Manifesto for an American Sublime: Thomas Cole’s The Oxbow” in Thomas Cole’s Journey: Atlantic Crossings. Exh. cat. (New York: The Metropolitan Museum of Art, 2018): 83. 1 year prior. Indeed, Cole’s journal entries reveal his research into uncovering the native names of the Catskills and his success in finding that of the Kaaterskill Falls. This information was not easily attainable, being buried under centuries of complex land deeds between the Mohican and Esopus tribes of the Catskills and early Dutch settlers. That he eventually found the native name of Kaaterskill Falls speaks to an incredible amount of research on Cole’s part. This desire to learn about the region’s history came from a love for the mountains that awoke in him from his first visit as a young man, right before he emerged onto the New York City art scene. Cole’s ability to push past the boundaries of conventional picturesque landscape depiction was the product of his informal development as a painter. Born in 1801 in Bolton-le- Moors, England, Cole’s only training in the arts would be as an engraver’s assistant.
Load more

Recommended publications
  • Round 8 - GD - Google Docs PSACA Presents: Groundhog Day (2018-19) Round 8 by Bill Tressler with Thanks to Bern Mccauley and the Great Valley Quiz Team
    2/7/2019 Round 8 - GD - Google Docs PSACA Presents: Groundhog Day (2018-19) Round 8 by Bill Tressler with thanks to Bern McCauley and the Great Valley Quiz Team Tossups 1. It’s not Michigan, but the Michigamea were in a confederation known by this state’s name. It had the largest 11th - century city in what is now the U.S., a culture who built Monks Mound and the Cahokia Woodhenge. The Battle of Stillman's Run here was part of the Black Hawk War, which occurred after tribes crossed the Mississippi River on its (*) western border. Some mayors who oversaw a city in this state include Richard M. Daley and Rahm Emanuel. Barack Obama was a senator from—for 10 points—what state with capital Springfield? answer: Illinois 2. Blake Nelson wrote about an anonymous one of these happenings, and a Brian Katcher work is titled for one and Deacon Locke. During John Green’s Paper Towns, Quentin tells his parents he’s going here but instead searches a mini-mall for Margo. Tommy Ross dies during one when a bucket is dropped on his head in Carrie by Stephen (*) King. Stephenie Meyer’s “Hell on Earth” concerns one, and after the Phoenix attack in Twilight , Bella and Edward return to Forks to attend one. For 10 points—give this type of dance often held late in the school year. answer: prome nade dance (prompt on “dance”; accept titles like Prom Anonymous or Deacon Locke Went to Prom ) 3. A committee of the SAE classifies these objects from 0 to 5, and they are the subject of a Dwight Farmer article suggesting they could increase a carrying capacity by 100%.
    [Show full text]
  • Sound, Image, Silence: Art and the Aural Imagination in the Atlantic World
    Sound, Image, Silence Gaudio.indd 1 30/08/2019 10:48:14 AM Gaudio.indd 2 30/08/2019 10:48:16 AM Sound, Image, Silence Art and the Aural Imagination in the Atlantic World Michael Gaudio UNIVERSITY OF MINNESOTA PRESS MINNEAPOLIS • LONDON Gaudio.indd 3 30/08/2019 10:48:16 AM This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph System)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the College of Liberal Arts at the University of Minnesota, Twin Cities. Learn more at openmonographs.org. The publication of this book was supported by an Imagine Fund grant for the Arts, Design, and Humanities, an annual award from the University of Minnesota’s Provost Office. A different version of chapter 3 was previously published as “Magical Pictures, or, Observations on Lightning and Thunder, Occasion’d by a Portrait of Dr. Franklin,” in Picturing, ed. Rachael Ziady DeLue, Terra Foundation Essays 1 (Paris and Chicago: Terra Foundation for American Art, 2016; distributed by the University of Chicago Press). A different version of chapter 4 was previously published as “At the Mouth of the Cave: Listening to Thomas Cole’s Kaaterskill Falls,” Art History 33, no. 3 (June 2010): 448– 65. Copyright 2019 by the Regents of the University of Minnesota Sound, Image, Silence: Art and the Aural Imagination in the Atlantic World is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/by-nc-nd/4.0/.
    [Show full text]
  • IN the FOOTSTEPS of THOMAS COLE E Are Scientists: Robert Is a Geologist and Johanna a Word, It Has Always Been Difficult to Define Precisely
    BY ROBERT TITUS AND JOHANNA TITUS HISTORIC MASTERS REDEFINING THE “SUBLIME” IN THE FOOTSTEPS OF THOMAS COLE e are scientists: Robert is a geologist and Johanna a word, it has always been difficult to define precisely. To be Sublime, a biologist. Ours are the two leading sciences of Nature is imagined not just as wilderness, but as wilderness with some- the landscape. We are also residents of New York thing vaguely dangerous, even ungodly, about it. Look at any forest State’s Catskill Mountains, so it should not sur- scene (Fig. 2) painted by the Hudson River School’s Asher B. Durand prise anyone that we harbor a passion for the (1796–1886). It is easy to imagine entering his dense, wild woodlands, Hudson River School of painters. Fortunately, but then you must ask yourself, “Can I be certain I will ever get out of Wscientists like us are well-positioned to offer insights on some of the them again?” The answer is no, you cannot, and that, we think, consti- leading themes of that talented group. tutes the scary part of the Sublime. The Hudson River School was America’s first formally recognized art movement. It thrived in the mid-19th century, starting when the English émigré Thomas Cole (1801–1848) began painting landscapes around the Catskill Mountain House Hotel (Fig. 1) at the summit of the “Wall of Manitou,” a towering escarpment along the Catskills’ eastern edge. Cole first visited this region in 1825, early in his career, when it was still largely wilder- ness. The landscapes he painted that year con- trasted dramatically with the park-like views that had long been featured in European land- scape art.
    [Show full text]
  • Seeing the Landscape in Landscape Art
    Seeing the Landscape in Landscape Art Edward K. Faison n 1825, a young British immigrant, cap- made famous by George Inness in the 1880s and tivated by the wild scenery of the Hud- 1890s. In an ironic twist, a painting fraternity Ison River and nearby Catskill mountains, (the HRS) founded to celebrate America’s wil- endeavored to promote America’s natural won- derness became synchronous with a brief period ders as a distinctive national identity. That year in the northeastern United States in which the Thomas Cole began painting the undeveloped landscape was altered to a greater extent than landscapes of the Northeast with romantic gran- at any time since the last ice age. Because pho- deur and literal exactitude, inspiring a cadre of tography was in its infancy during this period followers that produced America’s first painting and because intensive observation and faithful movement. The Hudson River School (HRS), depiction of nature as well as the study of natu- as the movement was later named, thrived for ral science were integral to the HRS’s ethos, the next half century before being replaced by nineteenth century American landscape paint- the misty, ethereal landscapes of the tonalists ing affords a window into the dramatic ecologi- COURTESY OF THE METROPOLITAN MUSEUM OF ART OF THE METROPOLITAN COURTESY Thomas Cole’s 1836 painting, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm— The Oxbow. Cole included a portrait of himself working at his easel, dwarfed by the surrounding forest, in the lower center of the painting. Landscape Art 3 COURTESY OF THE NATIONAL GALLERY OF ART, WASHINGTON, D.C.
    [Show full text]
  • The Magazine of the Arnold Arboretum VOLUME 73 • NUMBER 2
    The Magazine of the Arnold Arboretum VOLUME 73 • NUMBER 2 The Magazine of the Arnold Arboretum VOLUME 73 • NUMBER 2 • 2015 CONTENTS Arnoldia (ISSN 0004–2633; USPS 866–100) 2 Seeing the Landscape in Landscape Art is published quarterly by the Arnold Arboretum Edward K. Faison of Harvard University. Periodicals postage paid at Boston, Massachusetts. 19 The Etymology of Parking Subscriptions are $20.00 per calendar year Michele Richmond domestic, $25.00 foreign, payable in advance. Remittances may be made in U.S. dollars, by 25 The Bonsai Collection of Stellenbosch check drawn on a U.S. bank; by international University Botanical Garden money order; or by Visa, Mastercard, or American Miles S. Sax and Willem Pretorius Express. Send orders, remittances, requests to purchase back issues, change-of-address notices, 36 Tracking the Seasonal Rhythms of Boston and all other subscription-related communica- tions to Circulation Manager, Arnoldia, Arnold Common Trees Arboretum, 125 Arborway, Boston, MA 02130- W. Wyatt Oswald and Andrew D. Richardson 3500. Telephone 617.524.1718; fax 617.524.1418; e-mail [email protected] 40 A Study in Scarlet: Nyssa sinensis Arnold Arboretum members receive a subscrip- Nancy Rose tion to Arnoldia as a membership benefit. To become a member or receive more information, Front cover: Crabapples (Malus ‘Prairifire’) and switch- please call Wendy Krauss at 617.384.5766 or grass (Panicum virgatum ‘Northwind’) provide autumn email [email protected] color. Photo by Nancy Rose. Postmaster: Send address changes to Inside front cover: Senior botanical assistant Bonakele Arnoldia Circulation Manager Mpecheni (left) and curator Martin Smit (right) from The Arnold Arboretum the Stellenbosch University Botanical Garden observe 125 Arborway a king protea (Protea cynaroides), the national flower of Boston, MA 02130–3500 South Africa.
    [Show full text]
  • Something of an Architect: Thomas Cole and the Country House Ideal
    Something of an Architect: Thomas Cole and the Country House Ideal By William Lavine Coleman A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Margaretta M. Lovell, Chair Professor Elizabeth A. Honig Professor Andrew M. Shanken Spring 2015 Copyright 2015, William Lavine Coleman All rights reserved Abstract Something of an Architect: Thomas Cole and the Country House Ideal by William Lavine Coleman Doctor of Philosophy in History of Art University of California, Berkeley Professor Margaretta M. Lovell, Chair The Anglo-American artist Thomas Cole is now firmly established in the canon for his landscape paintings and allegories but it has not been adequately understood how deeply he was invested in architecture. This dissertation seeks to remedy that oversight by studying archival evidence that shows his sophistication as a painter, designer, and critic of buildings and his participation in intellectual currents of the time through the built environment. What discussion there has been of Cole’s little known work in architecture in the past has treated the episodes under discussion as anomalous or peripheral to his core work. On the contrary, “Something of an Architect: Thomas Cole and the Country House Ideal” demonstrates the extent to which many of his best known paintings were the product of practical architectural endeavors with which he was involved in the same years, and that he approached the built environment pictorially. The three chapters study three distinct but related elements of his response to architecture.
    [Show full text]
  • Anthony Fassi, “Urban Exploration, Industrial Ruin, and the Postindustrial Picturesque,” New Critical Review 10.1 (Spring 2010), 141-152
    The Dissertation Committee for Anthony Joseph Fassi III Certifies that this is the approved version of the following dissertation: Manufacturing Ruin Committee: Jeffrey L. Meikle, Supervisor Elizabeth Engelhardt Mark C. Smith Steven Hoelscher Martin Kevorkian Manufacturing Ruin by Anthony Joseph Fassi III, A. B.; M. A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2013 Manufacturing Ruin Anthony Joseph Fassi III, Ph.D. The University of Texas at Austin, 2013 Supervisor: Jeffrey L. Meikle “Manufacturing Ruin” argues that the most important moments in the history of the concept and consciousness of “American ruin” accompany volatile episodes of progress and decline in American manufacturing. This dissertation attends to the construction of “American ruin” in response to the rise of manufacturing in the early to mid-nineteenth century and the decline of industrial capitalism in the twentieth and twenty-first centuries. Americans have manufactured picturesque ruins and spectacular episodes of ruination both to conceal and reveal and to “contain” and “harness” destructive forces inherent to capitalism. In some cases, ruins have been represented in ways that conceal processes of ruination inherent to their own destruction. In other instances, episodes of destruction demonstrate that in attending to particular processes of ruination, Americans have intentionally ignored others.
    [Show full text]
  • Thomas Cole National Historic Site Ellwood Parry Archive Finding Aid
    Thomas Cole National Historic Site Ellwood Parry Archive Finding Aid Date Range: 1801-2005 Bulk Dates: 1822-2005 Finding Aid By: Samantha Singleton Collection Creator: Ellwood Parry Extent: 412 inches (1046.48 centimeters) Abstract: The records of Ellwood Parry include Thomas Cole’s correspondence, microfilms, exhibition records, professional correspondence, slides, film, and photos. Languages: English, French, German, and Italian Acquisition Information: These records came to the TCNHS in 2014, deposited by the Michael Altman Fine Art and Advisory Services. Access Restrictions: The archive is open to research by TCNHS researchers by appointment only. The archive cannot be loaned. The materials cannot be removed from the archive room without a staff member. Copyright: Copyright remains with the TCNHS History: Ellwood Parry was a leading expert on the artist, Thomas Cole. He earned his bachelors degree at Harvard College, a Master’s from the University of California Los Angeles, and a Doctorate from Yale University. He wrote two books: The Image of the Indian and the Black Man in American Art 1590-1900 (1974) and The Art of Thomas Cole: Ambition and Imagination (1988). He taught at Columbia University, The University of Iowa, and The University of Arizona. These records are a culmination of Parry’s research from 1960-2005. Scope and Content: The records of Ellwood Parry research archive includes copies of letters, articles, Thomas Cole correspondence, professional correspondence, research notes handwritten by Parry, slides, photographs, and microfilms. This series give an insight into the knowledge and research of Ellwood Parry. The items have been intentionally left in the order created by Parry to provide deeper insight into his knowledge and understanding of Cole.
    [Show full text]
  • Thomas Cole on Architecture
    THOMAS COLE ON ARCHITECTURE: PICTURING THE GOTHIC by Rebecca Ayres Schwartz A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Spring 2016 © 2016 Rebecca Ayres Schwartz All Rights Reserved THOMAS COLE ON ARCHITECTURE: PICTURING THE GOTHIC by Rebecca Ayres Schwartz Approved: ______________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ______________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: ______________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: _________________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ________________________________________________________________ Wendy Bellion, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ________________________________________________________________ J. Ritchie Garrison, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • Hudson River School Art Trail
    Hudson River School Art Trail Trail Site Cedar Grove “O Cedar Grove! when’er I think to part The Thomas Cole National Historic Site From thine all peaceful shades my aching heart Is like to his who leaves some blessed shore Cedar Grove is the home of Thomas Cole, founder of the A weeping exile ne’er to see it more.” Hudson River School of art. The site includes the Federal style Thomas Cole, 1834 brick Main House (c. 1815), as well as Thomas Cole's original studio building, on landscaped grounds with a magnificent view DIRECTIONS: Cedar Grove is located near the west entrance to the Rip Van Winkle of the Catskill Mountain range. Bridge. Take NYS Thruway (I-87) to exit 21 (Catskill). Make a left at the The Main House and Studio are open by guided tours, which stop sign, then proceed 1,000 feet are offered Friday, Saturday & Sunday, 10 am to 4 pm, from and make a left onto Route 23 East. early May through late October. The grounds and visitor center Proceed 2 miles and make a right at are open free of charge, and a small fee is charged for the tour the light onto Spring Street (Route of the historic buildings. For detailed information about hours, 385). Cedar Grove is on the left. (Use the shared driveway with Temple Israel). admission and group tours, log on to www.thomascole.org. Charles Herbert Moore, Thomas Cole’s Thomas Cole, View on the Catskill - Cedar Grove, 1868. Early Autumn, 1838. The Thomas Cole National Historic Site, The Metropolitan Museum of Art, Catskill, NY.
    [Show full text]
  • Housing and Dwelling: Perspectives on Modern Domestic Architecture / Edited by Barbara Miller Lane
    Housing and Dwelling Housing and Dwelling collects the best in recent scholarly and philosophical writings that bear upon the history of domestic architecture in the nineteenth and twentieth centuries. Lane combines exemplary readings that focus on and examine the issues involved in the study of domestic architec- ture. The extracts are taken from an innovative and informed combination of philosophy, history, social science, art, literature and architectural writings. The readings address, among other issues, the relation between the public and the private sphere, the gendering of space, notions of domes- ticity, the relation between domesticity and social class, the role of builders and prefabrication, and the relationship between architects and the inhabitants of dwellings. Uniquely, the readings in Housing and Dwelling underline the point of view of the user of a dwelling and assess the impact of varying uses on the evolution of domestic architecture. Housing and Dwelling is a valuable asset for students, scholars and designers alike. The book explores the extraordinary variety of methods, interpretations and source materials now available in this important field. For students, it opens windows on the many aspects of domestic architecture. For scholars, it introduces new, interdisciplinary points of view and suggests directions for further research. It acquaints practising architects in the field of housing design with history and methods and offers directions for future design possibilities. Barbara Miller Lane is Professor Emeritus in the Humanities, Professor Emeritus of History, and Mellon Emeritus Fellow at Bryn Mawr College. She founded the College’s Growth and Structure of Cities Program and served as its director from 1971 to 1989, and again in 1996 to 1997.
    [Show full text]
  • The Birth of American Tourism : New York, the Hudson Valley, and American Culture, 1790-1835
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2002 The birth of American tourism : New York, the Hudson Valley, and American culture, 1790-1835. Richard H. Gassan University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Gassan, Richard H., "The birth of American tourism : New York, the Hudson Valley, and American culture, 1790-1835." (2002). Doctoral Dissertations 1896 - February 2014. 1291. https://scholarworks.umass.edu/dissertations_1/1291 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE BIRTH OF AMERICAN TOURISM: NEW YORK, THE HUDSON VALLEY, AND AMERICAN CULTURE, 1790-1835 A Dissertation Presented by RICHARD H. GASSAN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2002 History © Copyright by Richard H. Gassan 2002 All Rights Reserved THE BIRTH OF AMERICAN TOURISM: NEW YORK, THE HUDSON VALLEY, AND AMERICAN CULTURE, 1790-1835 A Dissertation Presented by RICHARD H. GASSAN Approved as to style and content by: Stephen W. Nissenbaum, Chair Gerald M. McFarland, Member Margar lint. Member Richard W. Wilkie, Member David H. Glassberg, Departnfient Head Department of History ACKNOWLEDGEMENTS Of course, first on this list are the members of my committee who have suffered through the many drafts of this text.
    [Show full text]