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Alice Ravenel Huger Smith, 1876-1958 by Alice Ravenel Huger Smith,Angela D. Mack,Roberta Sokolitz,Carolina Galleries (Charleston, S.C.) Pdf
The catalog for "Through the pines, the poetic vision of Alice Ravenel Huger Smith, an exhibition of 12 watercolors and 3 woodblock prints," on view at Carolina Galleries, 188 King Street, Charleston, South Carolina, during the autumn of 2002. This publication "visually documents two significant, private, lowcountry collections, " that of Anne (Mrs. William P.) Montague and the McInvaill family, particularly Henry McInvaill.--p. [1].
Alice: Alice Ravenel Huger Smith by Dwight McInvaill,Caroline Palmer,Anne Tinker Pdf
Alice Ravenel Huger Smith (1876-1958), a leader of the Charleston Renaissance, immortalized the beauty and history of the Carolina Lowcountry and helped propel the region into an important destination for cultural tourism. A lifelong Charleston resident, she helped spark the city's historic preservation movement, depicted the waning days of rice planting, and captured the mystical spirit of the Lowcountry in luminous watercolors. This beautifully-illustrated volume is a personal account of the artist's life and work that draws on unpublished papers, letters, and interviews. It includes over 200 paintings, prints, sketches, and photographs, many shared for the first time. The most comprehensive book ever made of Alice's work, it is both an important contribution to Southern art scholarship and a gorgeous addition to the bookshelves of art lovers.Published by Evening Post Books in collaboration with the Middleton Place Foundation.
101 Women Who Shaped South Carolina by Valinda W. Littlefield Pdf
Prior to the twenty-first century, most historical writing about women in South Carolina focused on elite White women, even though working-class women of diverse backgrounds were actively engaged in the social, economic, and political battles of the state. Although often unrecognized publicly, they influenced cultural and political landscapes both within and outside of the state's borders through their careers, writing, art, music, and activism. Despite significant cultural, social, and political barriers, these brave and determined women affected sweeping change that advanced the position of women as well as their communities. The entries in 101 Women Who Shaped South Carolina, which include many from the landmark text The South Carolina Encyclopedia, offer a concise and approachable history of the state, while recognizing the sacrifice, persistence, and sheer grit of its heroines and history makers. A foreword is provided by Walter Edgar, Neuffer Professor of Southern Studies Emeritus and Distinguished Professor Emeritus of History at the University of South Carolina.
Author : Martha R. Severens Publisher : University of South Carolina Press Page : 240 pages File Size : 44,6 Mb Release : 1998 Category : Art ISBN : UOM:39015042927924
The Charleston Renaissance by Martha R. Severens Pdf
"The Charleston Renaissance chronicles a dynamic period of Southern history, detailing the artistic legacy of native and national artists whose collective image-making led to Charleston's transformation from a faded Southern capital to a premier tourist destination. Martha Severens, as art historian, curator, and former Charleston resident, introduces readers to the city's traditions and lore, and delineates their impact on the art of the day. Through her examination of the major local figures of the period - Alfred Hurry, Alice Ravenel Huger Smith, Anna Heyward Taylor, and Verner - as well as the impressive list of visiting artists - including Birge Harrison, Childe Hassam, Edward Hopper, Lilla Cabot Perry, and many more - Severens expands upon the existing scholarship, adding new depth and dimension to both the period and the place. Ultimately, by connecting the artistic advances in Charleston to the greater American art scene, Severens brings clarity to the "ancient, beautiful" city's vital role in Southern art and American regionalism."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn
Scenic Impressions by Estill Curtis Pennington,Martha R. Severens Pdf
The radical changes wrought by the rise of the salon system in nineteenth-century Europe provoked an interesting response from painters in the American South. Painterly trends emanating from Barbizon and Giverny emphasized the subtle textures of nature through warm color and broken brush stroke. Artists' subject matter tended to represent a prosperous middle class at play, with the subtle suggestion that painting was indeed art for art's sake and not an evocation of the heroic manner. Many painters in the South took up the stylistics of Tonalism, Impressionism, and naturalism to create works of a very evocative nature, works which celebrated the Southern scene as an exotic other, a locale offering refuge from an increasingly mechanized urban environment. Scenic Impressions offers an insight into a particular period of American art history as borne out in seminal paintings from the holdings of the Johnson Collection of Spartanburg, South Carolina. By consolidating academic information on a disparate group of objects under a common theme and important global artistic umbrella, Scenic Impressions will underscore the Johnsons' commitment to illuminating the rich cultural history of the American South and advancing scholarship in the field, specifically examining some forty paintings created between 1880 and 1940, including landscapes and genre scenes. A foreword, written by Kevin Sharp, director of the Dixon Gallery and Gardens in Memphis, Tennessee, introduces the topic. Two lead essays, written by noted art historians Estill Curtis Pennington and Martha R. Severens, discuss the history and import of the Impressionist movement—abroad and domestically—and specifically address the school's influence on art created in and about the American South. The featured works of art are presented in full color plates and delineated in complementary entries written by Pennington and Severens. Also included are detailed artist biographies illustrated by photographs of the artists, extensive documentation, and indices. Featured artists include Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, G. Ruger Donoho, Harvey Joiner, John Ross Key, Blondelle Malone, Lawrence Mazzanovich, Paul Plaschke, Hattie Saussy, Alice Ravenel, Huger Smith, Anthony Thieme, and Helen Turner.
Beyond the Fields by Barbara Doyle,Mary Edna Sullivan,Tracey Todd Pdf
An examination of slavery at Middleton Place, a plantation near Charleston, S.C. Provides both general information and details about specific individuals, including a list of slaves owned by the Middleton family from 1738 to 1865.
Landscape of Slavery by Angela D. Mack,Stephen G. Hoffius Pdf
Through eighty-nine color plates and six thematic essays, this collection examines depictions of plantations, plantation views, and related slave imagery in the context of the history of landscape painting in America, while addressing the impact of these images on US race relations.
A Southern Collection presents select masterworks from the permanent collection of the Morris Museum of Art on the occasion of the institution's inaugural exhibition. Drawn from a comprehensive survey collection of painting in the South from the late eighteenth century to the present day, the museum's opening exhibit explores an artistic terrain as rich and diverse as the South itself, arranged in categories that reflect critical chronological developments in the art world. A survey of painting activity in the South begins with the travels of itinerant portrait artists working prior to the Civil War. At the same time, landscape painting encompasses a sensitive response to the swamps, bayous and fertile fields of the South. Late in the nineteenth century strong and vivid genre painting competes with the nostalgic effects realized by Southern impressionists, whose shimmering, liquid images are invested with an elusive spirit of place. In this century, those strains of realism and naturalism that characterize the classic body of Southern writing appear in the representational art of painters who defied the modern abstract dictum. And finally, the exciting, compelling works of a current generation of both self-taught artists and sophisticated contemporary painters complete this fascinating, though sometimes neglected, chapter in American art history.
Imprinting the South by Lynn Barstis Williams,Lynn Barstis Williams Katz Pdf
With this book the author outlines the history of printmaking in the South, the growth of the print society movement, and the influence of social realism, New Deal art programs, and the Arts and Crafts movement on the aesthetics of southern printmakers. She also reviews the motifs, imagery, and subject matter - the natural world, farms and farmers at work, rural architecture and townscapes, African-American life, religious gatherings, and scenes of leisure and play (hunting, dancing, music-playing). -- Dust Jacket.
