1,979 research outputs found

    Visual Culture Project: Confederate War Etchings: Searching for Arms by Adalbert Johann Volck

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    Adalbert Johann Volck’s 1861 sketch of Union soldiers, “Searching for Arms,” represents a substantial contribution to the narrative about gender relations during the American Civil War. This simple, small sketch offers the observer a window into the past. It is a collision of symbols and meaning—from gender to war to the household—all wrapped up in one image. This is a portrait sketch of a woman being invaded in her domestic, private sphere, revealing so much about gender relations during the time. The mistress herself seemed to embody a vast range of sentiments such as anger, fear, frailty, and strength, proving the tension in her role as a wife, a mother, and guardian of the home. This inner conflict is something that all women faced during this time as they strove to remain loyal to the cause for which their husbands fought

    Women on Exhibit

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    Selections from the permanent collection, September 20, 2004 - January 12 2005https://digitalcommons.lasalle.edu/exhibition_catalogues/1102/thumbnail.jp

    The Art of Printmaking: Part 4. American Prints from the Eighteenth Century to the Present

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    PEALE, CHARLES WILSONPELHAM, PETERSAVAGE, EDWARDCASSATT, MARYCATLIN, GEORGEDUVENECK, FRANKHOMER, WINSLOWHUNT, WILLIAM MORRISWHISTLER, JAMES McNEILWEIR, J. ALDENBELLOWS, GEORGE W.CORNELL, THOMASCRAWFORD, RALSTONFEININGER, LYONELHASSAM, CHILDEHOPPER, EDWARDJONES, JOHN PAULKUNIYOSHI, YASUOLANDECK, ARMINLASANSKY, MAURICIOSISTER MARY CORITA, I.H.M.McGARRELL, JAMESOROZCO, JOSE CLEMENTEPEARSON, HENRYPETERDI, GABORPONCE DE LEON, MICHAELPOSADA, JOSE GUADALUPESLOAN, JOHNSUMMERS, CAROLWALD, SYLVI

    The Development of Graphic Art In Missouri

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    The development of the art of a people is closely inter-woven with the history and society of that group; the histories and societies of communities are very nearly parallel in the steps of human progress - even taking into consideration the complex cumulative character of progress and the subsequent advantages of later civilizations over old; so that, viewed as a whole or in sections, each normal development of art goes through fundamental states true alike in every other normal art-development. Art reflects in its development the society which produces it. For example, the evolution of art in the state of Missouri reflects the society which produced it, subject, of course, to the influence of previous art-evolution and the contemporary art with which it has had contacts. World art reflects the society of mankind throughout the ages. Each civilization, or segment thereof, in its turn - or simultaneously with another - produces and offers to the world its art. Through its art a civilization gives of its individuality and, if another art in its evolution has reached a point at which it can be sensitive to it, the essence of that individuality given may act upon that art which may, as a result, be enriched

    Tarble Arts Center Newsletter Auust-September 1992

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    https://thekeep.eiu.edu/tarble_newsletter/1027/thumbnail.jp

    The Wooster Voice (Wooster, OH), 1991-01-25

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    On the first page of this edition of the newspaper is an article on the subject of two students called to active duty in the Middle East. Students Todd Musgrove and Matthew Matheney received official notices calling them to action. On the Viewpoints page, a page of opinion pieces written by students not associated with the Voice, there are numerous small articles and a political cartoon about the president. Later in the paper there is a large article on the international student\u27s views on the war. The majority of the paper focuses on the war and opinions on civil disobedience. Toward the end of the issue, there are a couple of articles about the various sports events that are related to the college. Finally, the paper ends with a couple of advertisements and cartoons.https://openworks.wooster.edu/voice1991-2000/1000/thumbnail.jp

    Thresholds

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    À travers une discussion des cinq principaux domaines théoriques qui influencent mon travail artistique; la biophilie, l’écoféminisme, «foraging» (la récupération), la non-dualité et l’espace sacré, j'explore les relations synergiques entre mes réflexions socioécologiques et politiques et ma pratique artistique. Je m'intéresse aux intersections entre l'activisme et l'art, l'engagement et la transformation, et l'idée que l'art peut être vu comme une «sculpture sociale» pour emprunter à Beuys. À la recherche constante des réalités alternatives des forces polarisantes qui dominent notre (ma) vision du monde contemporain et en critiquant la division sociétale de culture - nature, mon texte raconte la connectivité entre mes projets artistiques et mes recherches théoriques, définissant enfin la relation entre les deux comme fondamentale pour mon processus de création. Le concept de seuil est primordial, proposé comme lieu de rencontre ou jonction des mondes binaires; l'intime et le public, le profane et le sacré, la culture et la nature.Through a discussion of the five main theoretical domains that influence my art-making; biophilia, ecofeminism, foraging (recuperation), non-duality and sacred space, I explore the synergistic relations between my socio-ecological-political reflections and my art practice. I am interested in the intersections between activism and art, engagement and transformation, and the idea that art can be seen as a “social sculpture” to borrow from Beuys. Continually seeking alternative realities from the polarizing forces that dominate our (my) contemporary world-view and questioning the culture - nature divide, my text chronicles the connectivity between my art projects and my theoretical research, finally understanding the relationship between the two as fundamental to my creative process. The concept of the threshold is paramount, proposed as a meeting place or juncture between binary worlds; the intimate and the public, the secular and thesacred, culture and nature

    Jewel Box Series: Nov. 19, 2004

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    Mark Clayton, James Janssenhttps://neiudc.neiu.edu/jewel/1040/thumbnail.jp

    A Man in the Middle: Giuseppe de Nittis in Paris in the 1870s

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    This essay charts de Nittis’ meteoric rise to commercial success via the commercial gallery of Adolphe Goupil as well as his public successes at the Paris Salon. De Nittis carefully negotiated his position between the Salon work and what best sold through Goupil while retaining close contacts with some of the key Impressionist artists. A fascinating connection, in particular, exists between Edgar Degas’ famous Place de la Concorde: Count Lepic and his daughters and de Nittis’ own Place de la Concorde, which was painted at nearly the same moment and was directly engaged with Degas’s picture. The central claim of the essay is that instead of regarding de Nittis as a marginal figure in the important events surrounding the Impressionists, he was actually a central actor in the aesthetic and institutional transformations experienced by the Parisian art world during the 1870s

    Spartan Daily, October 26, 1959

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    Volume 47, Issue 24https://scholarworks.sjsu.edu/spartandaily/3940/thumbnail.jp
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