DOCSLIB.ORG

In Pursuit of Beauty Americans Ami the Aesthetic Movement

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Pursuit of Beauty Americans Ami the Aesthetic Movement In Pursuit of Beauty Americans ami the Aesthetic Movement ii-?* * \ffiT k^ m* l \ . *»-«- -^LJ October 23, 1986—January 11, 1UN7 1 111: MI. MUSliUM OF AIM This exhibition is made possible by Meredith Corporation. Additional support has been received from the National Endowment tor the Humanities. A Love of the Past, The Aesthetic Craze Artistic Houses The Lure of the Exotic Vast sums were spent by Americans cultivating their Two manifestations of the Aesthetic movement in taste, surrounding themselves with fine art, and hiring Modern Gothic furniture was the first expression of America were increased public awareness of art and prestigious decorating firms to impose aesthetic stan­ the Aesthetic movement in America. It was architec­ the proliferation of art education. The styles and ideas dards on their homes. tonic in form and construction, and its surface decora­ of the movement were popularized and commercial­ tion featured carved and incised designs derived from ized by a wave of books and magazines on household During the Aesthetic period, the lavish interiors cre­ medieval sources. decoration. Eastlake's Hints on Household Taste ated by the major decorators—Herter Brothers and appeared in eight American editions; other books, like The quest for pure beauty led inevitably to ancient- Associated Artists among them—were collaborations those by Clarence Cook, Harriet Prescott Spofford, Greece. Archaeological finds were exhibited in by artists, architects, craftsmen, and patrons. and M. Louise McLaughlin, were written for the American museums, and Greek shapes and decoration American middle class. Some notable interiors of the period include the reappeared in terracotta urns and in classical friezes Seventh Regiment Armory, the Henry G. Marquand Japanese Still Life on silver forms. Exhibitions, most notably the 1876 Centennial in house, the mansions of William H. Vanderbilt and his Philadelphia, and industrial fairs gave the American Elihu Vedder, 1879. Oil on canvas Nostalgia for the early American past created a son Cornelius II, and the Henry Osborne Havemeyer Los Angeles County Museum of Art (M.74.11) public a place to see both fine and applied arts. Schools house, all in New York. demand for native antiques and reproductions and of design were formed nationwide. Museums also encouraged experiments in furniture inspired by assumed the role of educator by establishing art Associated Artists, founded in New York in 1879, best Colonial and Federal examples. schools. Clubs for the amateur artist—like New exemplifies the concept of a decorating team approach­ In Pursuit of Beauty It was Japanese art that provided the major influence York's Society of Decorative Art founded in 1877— ing an entire interior space: Louis Comfort Tiffany ran Ceres (detail) the glass department, Candace Wheeler was in charge on American designers, who adopted its flat, com­ became commonplace across the country. Augustus Saint-Gaudens, after a design by John La Farge of textiles, Lockwood de Forest supervised carving partmentalized surface patterns and asymmetrical for the dining room of the Cornelius Vanderbilt II Aestheticism was echoed in the most mass-produced and wood decoration, and Samuel Colman directed This exhibition is the first comprehensive study of the compositions. Japanese shapes, surface treatments, residence, New York, 1881-82 and utilitarian home furnishings, such as silverplated the use of color. Aesthetic movement, which flourished in America and materials were interpreted in the decorative arts of Mahogany, inlaid with precious stones and bronze wares, pressed glass, and ceramic tiles—all bearing from the mid-i870s to the mid-i88os. It was a move­ the period, particularly in porcelain and in silver Saint-Gaudens National Historic Site aesthetic patterns. Even ephemera like book illustra­ ment concerned with introducing principles of art into objects like the Tiffany and Company chocolate pot National Park Service, U.S. Department of the Interior tions and trade cards were affected by aesthetic taste. American manufactures—furniture, metalwork, shown below. Cabinet Cornish, N.H., Gift of the Trustees ceramics, stained glass, textiles, wallpapers, and Herter Brothers, New York, ca. 1880 of the Saint-Gaudens Memorial, 1979 books—indeed, into every aspect of domestic life. The new ornamental vocabulary was also enriched by Ebonized cherry, marquetry, gilt Photograph:Jeffrey Nintzel the decorative arts of China, Persia, India, and other High Museum of Art, Atlanta, Virginia Carroll Crawford Collection (1981.1000.51) The Aesthetic movement evolved from British reform exotic cultures. iQgMMkiFv^ •-•.•-.., . ^xJ? ideas beginning in the 1840s. Owen Jones's influential A Plea for Decorative Art book The Grammar of Ornament (1856) codified earlier theories and proposed a formal approach to design. Principles of Decorative Design Most important to the movement in America were the The involvement of professional and amateur painters contributions of four other men: Christopher Dresser, and sculptors in the decorative arts was a major aspect !ln] Charles Locke Eastlake, E. W. Godwin, and BruceJ. During the Aesthetic period, surface ornament in ot the Aesthetic movement in America. Some artists— Talbert. Their work called for honest construction mainly women—applied their talents to china paint­ and conventionalized, two-dimensional ornamenta­ every medium was derived from geometry and I nature, although forms were flattened and abstracted, ing, needlework, and wood carving. The role of tion. The writings ofjohn Ruskin and the designs of IM >. 4laB \WW\\\AW.^A\ not represented naturalistically. The Herter Brothers women in the movement soon grew until they had William Morris also shaped the aesthetic style in assumed a central place in the execution, promotion, America. cabinet illustrated here is a veritable dictionary of aesthetic-style pattern and ornament. For example, and appreciation of art. The artistic commitment of Cincinnati women is a prime example. They were The Aesthetic era was a time in which Americans the carved panels framing the central door resemble instrumental not only in founding a school of design formed great collections of ancient, medieval, and the stylized borders of berries and leaves seen in and an art museum in their city, but they also carved '•Ww ;,, < oriental art. Wealthy collectors commissioned grand period wallpapers and stained glass. Other favored ^K2S55feS furniture and decorated ceramics, eventually winning interiors for the display of their treasures. American motifs of the Aesthetic movement also seen here Aesthetic Stoves are all the sty/a a national reputation for their art pottery. Mr. William H. Vanderhilt's Library artists and artisans, like Louis Comfort Tiffany and include paired cranes and the sunflower, which Some very tame, some vety'Wilde." GARLANDS always are the best Designed by Herter Brothers, New York John La Farge, also collected exotic objects, which became a kind of emblem of the aesthete. The peacock rar'exce/lmf a// the rest Professional artists no longer confined their work to Plate from Artistic Houses (New York, 1883-84) inspired their own designs. feather, calla lily, and Japanese fan were also popular traditional media. Painters and sculptors could embel­ ThomasJ. Watson Library, subject matter. lish the walls of an interior, as John La Farge and The Metropolitan Museum of Art Aesthetic Garland Stoves (trade card) Augustus Saint-Gaudens did for the New York resi­ Photograph: David Allison Chocolate pot Interiors as well as furniture demonstrated the layer­ Designed by M. B. Mills COVER: Stained-glass window. One of six panels designed by Tiffany and Company, New York, 1879 ing and juxtaposition of different patterns and the use Printed by Calvert Lithograph Co., Detroit, 1882 dence of Cornelius Vanderbilt II; ornament tiles, as John La Farge for the William Watts Sherman house, Copper, silver, applied metal decoration, of a subtle palette of closely related colors that are Chromolithograph Winslow Homer did for a fireplace surround; or Newport, Rhode Island, ca. 1877. Leaded stained glass. ivory handle associated with the Aesthetic movement. The Metropolitan Museum of Art, design stained-glass windows like those created by La Courtesy, Museum of Fine Arts, Boston, Gift of James F. Collection of Mr. and Mrs. Jay Lewis Anonymous Gift, 1985 (1985-111°) Farge and Louis Comfort Tiffany. and Jean Baer O'Gorman (1974.498) Photograph: David Allison Photograph: David Allison Public Programs Films Symposium Unless noted, all programs are free with Museum admission. Films on subjects related to the exhibition will be shown in A symposium featuring five speakers on In Pursuit of Beauty: the Uris Center Auditorium on some weekday afternoons at Americans and the Aesthetic Movement will be held on Monday, Lectures 2:00 P.M. No tickets necessary. Dates and film titles will be December 8, 1986, in the Uris Center Auditorium. Mark listed in the Calendar/News and in the film flyers available at Girouard will be the keynote speaker. Admission to the TUESDAYS the Information Desks in the Great Hall and the Uris Center. symposium is by ticket only. There is no charge for tickets. All lectures begin at 6:00 P.M. in the Uris Center Auditorium. Send a self-addressed, stamped envelope with name and No tickets necessary. Special Events address to: Aesthetic Movement Symposium November 18 SUNDAYS Department of Public Education "Aesthetic Delight, Theoretical Dilemma: Wallpapers, These lectures
Load more

Recommended publications
  • 3122298.PDF (5.565Mb)
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ANTIMODERN STRATEGIES: AMBIVALENCE, ACCOMMODATION, AND PROTEST IN WILLA CATHER’S THE TROLL GARDEN A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Philosophy By STEPHANIE STRINGER GROSS Norman, Oklahoma 2004 UMI Number: 3122298 INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send 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. UMI UMI Microform 3122298 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 ©Copyright by STEPHANIE STRINGER GROSS 2004 All Rights Reserved. ANTIMODERN STRATEGIES: AMBIVALENCE, ACCOMMODATION, AND PROTEST IN WILLA CATHER’S THE TROLL GARDEN A Dissertation APPROVED FOR THE DEPARTMENT OF ENGLISH Dr. Ronald Schleifer, Director Dr. William HenrYiMcDonald )r. Francesca Savraya Dr. Melissa/I. Homestead Dr. Robert Griswold ACKNOWLEDGMENTS This project would never have been completed without the many hours of discussions with members of my committee, Professors Henry McDonald, Melissa Homestead, Francesca Sawaya, and Robert Griswold, and especially Professor Ronald Schleifer, and their patience with various interminable drafts.
    [Show full text]
  • PORTIÈRES in the AMERICAN INTERIOR, 1876-1910 By
    CREATIONS OF DOMESTIC TASTES: PORTIÈRES IN THE AMERICAN INTERIOR, 1876-1910 by Kristin Skinner A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts History of Decorative Arts Committee: Director Program Director Department Chairperson Dean, College of Humanities and Social Sciences Date: Fall Semester 2015 George Mason University Fairfax, VA Creations of Domestic Tastes: Portières in the American Interior, 1876-1910 A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts History of Decorative Arts at George Mason University by Kristin Skinner Bachelor of Arts Grand Valley State University, 2012 Director: Heidi Nasstrom Evans, Professor Department of History of Decorative Arts Fall Semester 2015 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This is dedicated to my first tastemaker, my mother, and to the memory of my father. Their love, support, and guidance have kept me strong. iii ACKNOWLEDGEMENTS I would like to thank my family and friends for all of their support and motivation (thank you for listening to me lament on my love for portières and Candace Wheeler designs). Thank you to Cindy Williams, Angela George, and Melanie Carroll for their support throughout the process. I would also like to thank my advisor Heidi Nasstrom Evans for her guidance since the very beginning of my time in graduate school (thank you for not tiring of me writing about portières and Candace Wheeler). Lastly, I would like to acknowledge the many librarians and digitation specialists who work meticulously in order to make period materials accessible through a vast amount of online resources.
    [Show full text]
  • The Portrait Miniature Revival, 1890-1930
    DISMISSED YET DISARMING: THE PORTRAIT MINIATURE REVIVAL, 1890-1930 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment Of the requirements for the degree Master of Fine Arts Maryann Sudnick Gunderson November 2003 This thesis entitled DISMISSED YET DISARMING: THE 20TH CENTURY PORTRAIT MINIATURE REVIVAL BY MARYANN SUDNICK GUNDERSON Has been approved for the School of Art and the College of Fine Arts Jody Lamb Associate Professor of Art History Raymond Tymas-Jones Dean, College of Fine Arts GUNDERSON, MARYANN S. MFA. November 2003. Art History Dismissed yet Disarming: The Portrait Miniature Revival, 1890-1930 (112pp.) Director of Thesis: Jody Lamb The portrait miniature revival is examined regarding contemporary influences and artists, during the period c. 1890-1930. Modern influences, including the philosophies of Arts and Crafts and Art Nouveau, are defined in context of the miniature. The fine arts of John Singer Sargent’s portraiture, as well as the abstraction and color of Mary Cassatt and Edgar Degas, are revealed as instrumental in altering the style of the revival miniature. Photography is examined for its influence versus eclipse of the miniature. The miniaturist’s environment is found to be highly significant, as the city of New York provided constant immersion in art societies, exhibitions, and studio residences where artists coexisted while creating new styles. Focus is on the works of miniaturists Eulabee Dix and Laura Coombs Hills. Patronage is found to be highly supportive of the portrait miniature and essential to an understanding of why the miniature was revived during the period.
    [Show full text]
  • Mary Wilkins Freeman's Artist Fiction
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1989 The hair wreath: Mary Wilkins Freeman's artist fiction Norma Johnsen University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Johnsen, Norma, "The hair wreath: Mary Wilkins Freeman's artist fiction" (1989). Doctoral Dissertations. 1575. https://scholars.unh.edu/dissertation/1575 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm 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 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 re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Lydia Field Emmet (1866-1952)
    LYDIA FIELD EMMET (1866-1952) Mother and Child in Garden Pastel on paper 17 x 13 1/2 inches (sight size) Signed lower right Provenance: Mary McLean Anthony Armand Scornavacco, Minneapolis, MN Exhibition History: A Woman’s Eye: Selected Works by 20th Century American Women Artists, February 23 – April 29, 2007. Lighthouse Center for the Arts, Tequesta, Florida The renowned portraitist Lydia Field Emmet is best known for her paintings of children. Born into a wealthy artistic family in New Rochelle, New York, Emmet was one of ten children. Her grandmother, Elizabeth Emmet Le Roy (1794-1878) was a portraitist, and her mother, Julia Colt Pierson, studied art with Daniel Huntington (1816-1906). Lydia’s sister, Rosina Emmet Sherwood (1854-1948) and their cousin Ellen Emmet Rand (1876 - 1941) were also noted for their portraits. The artistic heredity continues today, with descendants of the Emmet family still painting. Lydia’s family lineage can be traced back to the prominent Irish patriot, Robert Emmet. Lydia’s early informal endeavors in drawing were encouraged by her family, and eventually led her to become a highly successful professional artist. At seventeen, she accompanied her sister Rosina to Europe, where they both studied at the Académie Julian in Paris under the renowned painters William Bouguereau (1825-1905) and Robert Fleury (1837-1912). Upon her return to the United States, at the encouragement of her sister Rosina, Lydia enrolled at the Art Students League in New York, where she studied for six years under the tutelage of William Merritt Chase (1849-1916) among others. Chase would eventually produce a full-length portrait of Lydia in 1893, which is now in the collection of the Brooklyn Museum in New York.
    [Show full text]
  • Historic Interior Documentation a Case Study
    HISTORIC INTERIOR DOCUMENTATION A CASE STUDY A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Tamra L. Brosseau May 2006 © 2006 Tamra L. Brosseau ABSTRACT This is a study of the documentation process of historical interiors, which examines the need for a procedure that records, evaluates, and documents interior architecture. In doing so, an interior space can be recreated, restored, conserved or interpreted. I seek to demonstrate that a systematic approach to the documentation process is necessary to promote and further enhance the exchange of information regarding historical interiors within the preservation field. Consideration was given to the impact of such a system on the growing interest in historic interiors. Interdisciplinary approaches, including the fields of architecture, interior design, museum science, and historic preservation, were extensively researched. This involved evaluating the efficiency, accuracy, and effectiveness of the different approaches. The findings highlight some of the issues that have broader implications within the field of historic preservation, including the need for the further development of interior research and documentation. The aim of this study is to highlight the call for this form of investigation. In the first chapter, an examination was performed of previous critical and historical works in the field, including both academic writing and professional reports. This chapter focuses on the lack of available information on the topic and the reasons for the development of such. Chapter two explores the historical background of the Miller Heller House of Ithaca, New York.
    [Show full text]
  • News Release
    fflj The Metropolitan Museum of Art news release For release Communications Department 1000 Fifth Avenue Immediate New York, NY 10028-0198 Contact tel 212-570-3951 fax 212-472-2764 Harold Holzer email [email protected] SCHEDULE OF EXHIBITIONS JANUARY-APRIL 2002 EDITORS PLEASE NOTE: Information provided below is subject to change. To confirm scheduling and dates, call the Communications Department at (212) 570-3951. CONTACT NUMBER FOR USE IN TEXT IS (212)535-7710. New Exhibitions page 1 Upcoming Exhibitions Page 5 Continuing Exhibitions page 10 New and Recently Opened Installations page 15 Traveling Exhibitions page 19 Visitor Information page 21 OF SPECIAL NOTE • Surrealism: Desire Unbound, opening February 6, illustrates the shifting aspects of Surrealism's chief preoccupation, desire (see page 2). • Opening February 14, Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy is the first full-scale exhibition devoted to Caravaggio's most gifted and individual follower, Orazio, and his celebrated daughter, Artemisia (see page 3). • Treasures from a Lost Civilization: Ancient Chinese Art from Sichuan, opening March 6, explores the fascinating art and material culture of ancient Sichuan through recent archaeological discoveries (see page 3). • Also opening in March is Tapestry in the Renaissance: Art and Magnificence, the first major survey of tapestry production between 1460 and 1560 (see page 4). NEW EXHIBITIONS Earthly Bodies: Irving Venn's Nudes, 1949-50 January 15-April 21, 2002 Now in his mid-eighties, Penn is one of the world's finest photographers. Famous for portraiture, still life, and fashion work, he is less well known as a superb photographer of the female nude.
    [Show full text]
  • Report July 10, 2012
    The Commission for Historical and Architectural Preservation Public Interior Landmark Designation Staff Report July 10, 2012 St. Mark’s Evangelical Lutheran Church 1920 Saint Paul Street Baltimore, Maryland Summary While several churches and residences in Baltimore have Tiffany stained-glass windows, St. Mark’s Evangelical Lutheran Church is the only building with a Tiffany interior. Louis Comfort Tiffany was one of America’s most famous interior designers and artists of the late 19th - early 20th century. Today, he is best known for his stained-glass. Built in 1898, St. Mark’s is one of only a few intact Tiffany-designed interiors left in the world. The Tiffany Glass and Decorating Company designed and produced the ornately decorated walls, mosaics, stained-glass windows, and lamps in the church. Property History St. Mark’s Evangelical English Lutheran Church was founded in 1860, and was originally located on Eutaw Street between Saratoga and Mulberry Streets until 1898, when this Italian Romanesque church at the corner of St. Paul and 20th Streets was constructed. The church was designed by seminal Baltimore architect Joseph Evans Sperry. St Mark’s Evangelical Lutheran Church is a Baltimore City Landmark and contributes to the Old Goucher College National Register Historic District. The Byzantine interior of St. Mark’s was decorated by the Tiffany Glass and Decorating Company of New York City under the direction of René T. de Quelin, head designer and manager of the decorating department. The work was supervised by F.W. Kouzelmann.1 The company was led by Louis Comfort Tiffany, one of the premier artists and designers in America in the late 19th - early 20th century.
    [Show full text]
  • The Souvenir of Western Women
    -1 oiiie The Souvenir of Western Women Edited by MARY OSBORN DOUTHIT PORTLAND. OREGON 1905 Copyright, 1905, by Mary Osborn Douthit Presses of ANDEItSON & DUNIWAY COMPANY Portland, Oregon PRE FACE HE SOUVENIR .OF WESTERN WOMEN bears upon its pages a complex picture of he works and pioneer experiences of the women in the Pacific Northwestthe "Old Oregon" country from the time of woman's first appearance in these unexplored wilds to the present day. The purpose of this book is to record woman's part in working out the plan of our Westeri civilization; no other civilization, perhaps, bearingso con- spicuously the imprint of her hand and her brain.In coming to this country through all the perils, privations, and hardships of the longest journeyever made by a migratory people in search of homes, she marched side by side with man. Upon arriving here she could acquire equally with him a part of the public domain (the first instance of the kind on record). In patience, courage, and enduraiwe, woman proved man's equal.In her ability to cope with strenuous conditions, she was again his recognizedpeer. The powers thus erLgendered within her must perforce have leftan indelible impression on the body politic. Their dominance is apparent in our colleges and universities, all of which are builded upon co-education as. a corner-stone, and all of which also accept women as co-members of the faculty. From the beginning of statehood in all the states carved out of the "Old Oregon" country, women have been admitted to the practice of thepro- fessions on an equality with men.In the legislative halls woman's voice has been heard, and some of our most salutary laws owe their originto her thought.
    [Show full text]
  • REVOLT, THEY SAID. 1 a Project by Andrea Geyer
    REVOLT, THEY SAID. 1 a project by Andrea Geyer INSTALLATION MUSEUM OF MODERN ART NEW YORK Ida York Abelman (1908–2002) was a highly regarded Social OCTOBER 16th - NOVEMBER 27th 2015 Realist, known for the graphic work that she produced for the various Federal Art Projects in New York during the Depression. BIOGRAPHIES FOR DRAWING Her etchings and lithographs of the 1930s depict the difficult living conditions endured by many. Abelman also completed two murals for the Federal Art Projects: Lewiston Milestones in Lewiston, Illinois, and Booneville Beginnings in Booneville, Indiana, both extant. Her art training included the National Academy of Design, Grand Central Art School, College of the City of New York, and Hunter College, all in New York City. She was a member of the American Artists Congress and exhibited at the Museum of Modern Art, the Whitney Museum Louise Abbéma (1853–1927) was an artist known for her of American Art, and the Berkshire Museum, Massachusetts, portraits of notable figures of the Belle Époque, including among other venues. Her work is the collections of numerous Emperor Dom Pedro II of Brazil, architect Charles Garnier, and museums as well as the Library of Congress. actress Sarah Bernhardt. Bernhardt and Abbéma were lovers and exhibited artworks together at the 1893 World’s Columbian Gertrude Abercrombie (1909–1977) was an American Exposition in Chicago. Abbéma was a regular exhibitor at the painter. She spent much of her childhood traveling Europe with Paris Salon and regular contributor to the journals Gazette des her parents who toured with an opera company. The outbreak of Beaux-Arts and L’Art.
    [Show full text]
  • Inventing the Lady Manager: Rhetorically Constructing the “Working-Woman”
    Inventing the Lady Manager: Rhetorically Constructing the “Working-Woman” Julie A. Bokser Abstract: Situated in feminist rhetorical studies, this essay attends to how a select group of women assumed leadership and asserted authority in their work with the 1893 Columbian Exposition. The essay attempts to understand how women became managers and workers by studying the writing and symbolic acts of Bertha Palmer, President of the Board of Lady Managers, and several associates. Using archived correspondence, primary texts, and recent feminist rhetorical methodol- ogy, the essay recovers the women’s rhetorical practices, examines perceptions of gender and leadership, and sketches the challenge of “leaning in” in the rapidly changing working world of the late nineteenth century. Keywords: rhetoric, women’s work, women managers, public memory, performing self, Bertha Palmer, Columbian Exposition “The Board builded better than it knew when it elected her to fill that office. And indeed Congress builded better than it knew when it cre- ated the Board of Lady Managers.” (McDougall 650) * When Bertha Palmer became President of the Board of Lady Managers (BLM) of the 1893 World’s Columbian Exposition, she presided over more than one hundred lady managers, successfully advocated for Congressional fund- ing, supervised the design and building of the Fair’s Woman’s Building, negoti- ated the presence and selection of women judges, and coordinated the display of artifacts made by women from around the world. As noted in contemporary publications, the Board’s goal was to emphasize “the progress of women in a business and professional way,” made possible because “[t]raditional beliefs in regard to what constitutes a fit vocation or avocation for women are dis- appearing” (Yandell 71, Meredith 417).
    [Show full text]
  • YESTERDAYS in a Busy Life
    fe-*~ %UAiNn-i^ .itfE-UNIVERS/A ^clOS-ANCEl^ E-UBRARYQc, f/Dr-l ^|3 V %-*^ NSI iv^i tvTii ^SBAINfl^^ %HircHO^ %OJI1V3-JO^ ^OF-CAIIFOM< i-OF-CAUFO/?^ i y0jUJvaaiH^ >&Aavaain^ |-^J^Saiwaff^ |^-^QtaAHMP 1 1 jygli ^pO 1 | ^ p HUAiNivw^ ^man^ ^UBRA!?Y^ A^E-UNIVERS) JU^i ftsC CANDACE WHEELER YESTERDAYS In a Busy Life BY CANDACE WHEELER ILLUSTRATED HARPER & BROTHERS PUBLISHERS NEW YORK AND LONDON YESTERDAYS IN A BUSY LIFE Copyright, 1918, by Harper & Brothers Printed in the United States of America Published October. 1918 CONTENTS CHAP. I. "WlNTERGREEN" ............ I II. IN THE BEGINNING ........... 28 III. MARRIAGE AND BROOKLYN ......... 65 IV. "NESTLEDOWN" ............ i9 V. MY NEW YORK YEARS .......... 134 VI. THE CIVIL WAR PERIOD ......... 154 VII. GERMANY, ITALY, AND FRANCE ....... 175 VIII. THE SOCIETY OF DECORATIVE ART ...... 209 IX. "THE ASSOCIATED ARTISTS" ........ 231 X. ONTEORA ............... 268 XL MARK TWAIN ............. 324 XII. THE COLUMBIAN EXPOSITION ........ 34 XIII. ANDERS ZORN ............. 358 XIV. A SEASON IN LONDON .......... 37 1 XV. A SUMMER IN "BROADWAY" ........ 399 XVI. POSTLUDE .............. 416 550G01 ILLUSTRATIONS CANDACE WHEELER Frontispiece WILLIAM CULLEN BRYANT Pacing p. 122 " ELIZABETH B. CUSTER 172 " GENERAL GEORGE ARMSTRONG CUSTER .... 172 " WILLIAM M. CHASE 244 MRS. CLEMENS AND THE CHILDREN, HARTFORD, " CONNECTICUT, 1884 326 " MARK TWAIN AT FIFTY 336 " JAMES RUSSELL LOWELL AT FORTY 372 " ROBERT BROWNING 392 YESTERDAYS IN A BUSY LIFE YESTERDAYS IN A BUSY LIFE WINTERGREEN TN writing the story ot one's life the instinct is * to begin where one stands, at the quiet resting- place where all the issues of life are finally gathered. To the present years, which are almost un- believably good to me, and to the future, I have given a new setting a winter home in Georgia where everything I plant grows into beauty with almost audible joy, where everything I plan falls into a delightful whole, and where the friendships I have made are like a new blossoming of life.
    [Show full text]