The Cherokee Nation, world-famous for its turbulent and colorful past, is home to the second-largest American Indian tribe in the United States. This fascinating visual history spans 14 counties of northeast Oklahoma, from the Arkansas River to the Kansas border, and features the capital, Tahlequah. The U.S. government's harsh treatment of the Cherokees culminating in the notorious "Trail of Tears" is documented here. In Indian Territory, the Cherokees quickly established systems of democratic government, education, and communication. Many lived in the same manner as their white counterparts of the time, as wealthy plantation owners and ranchers. They were completely literate in their own written language, printing newspapers, magazines, and books. Devastation struck as the Civil War split the Cherokees into factions, dividing families and neighbors and destroying communities and homes. Again, the resilient Cherokees rebuilt their nation, enjoying growth and renewed prosperity until land allotment and statehood stripped away their self-governance. The progressive, accomplished character of the Cherokees is evidenced by the pictures and stories in this book. Here you will meet the leaders who helped rebuild the great Cherokee Nation, legendary figures like Sequoyah and Will Rogers, and the patriots and artisans who have kept the tribe's culture and tradition alive throughout history.
Visual Art and the Urban Evolution of the New South recounts the enormous influence of artists in the evolution of six southern cities—Atlanta, Charleston, New Orleans, Louisville, Austin, and Miami—from 1865 to 1950. In the decades following the Civil War, painters, sculptors, photographers, and illustrators in these municipalities employed their talents to articulate concepts of the New South, aestheticism, and Gilded Age opulence and to construct a visual culture far beyond providing pretty pictures in public buildings and statues in city squares. As Deborah C. Pollack investigates New South proponents such as Henry W. Grady of Atlanta and other regional leaders, she identifies "cultural strivers"—philanthropists, women's organizations, entrepreneurs, writers, architects, politicians, and dreamers—who united with visual artists to champion the arts both as a means of cultural preservation and as mechanisms of civic progress. Aestheticism, made popular by Oscar Wilde's southern tours during the Gilded Age, was another driving force in art creation and urban improvement. Specific art works occasionally precipitated controversy and incited public anger, yet for the most part artists of all kinds were recognized as providing inspirational incentives for self-improvement, civic enhancement and tourism, art appreciation, and personal fulfillment through the love of beauty. Each of the six New South cities entered the late nineteenth century with fractured artistic heritages. Charleston and Atlanta had to recover from wartime devastation. The infrastructures of New Orleans and Louisville were barely damaged by war, but their social underpinnings were shattered by the end of slavery and postwar economic depression. Austin was not vitalized until after the Civil War and Miami was a post-Civil War creation. Pollack surveys these New South cities with an eye to understanding how each locale shaped its artistic and aesthetic self-perception across a spectrum of economic, political, gender, and race issues. She also discusses Lost Cause imagery, present in all the studied municipalities. While many art history volumes concerning the South focus on sultry landscapes outside the urban grid, Visual Art and the Urban Evolution of the New South explores the art belonging to its cities, whether exhibited in its museums, expositions, and galleries, or reflective of its parks, plazas, marketplaces, industrial areas, gardens, and universities. It also identifies and celebrates the creative urban humanity who helped build the cultural and social framework for the modern southern city.
This history details the tumultuous lives of Miami Beach’s mid-twentieth century jet set, and features archival photos. From roughly 1930 to 1960, Miami Beach attracted an exclusive colony of socialites, who mixed with Hollywood celebrities and dignitaries, such as Winston Churchill, as effortlessly as tonic mixes with gin. Elizabeth Taylor announced her ill-fated engagement to the son of a former ambassador in Miami Beach. Other movie stars, such as Veronica Lake, were filmed in the enclave. Beautiful model Bab Beckwith, the first Orange Bowl Parade queen, dated John F. Kennedy while he was in Miami in 1944. Speedboat king Gar Wood bought his mistress a $100,000 bayfront home and then sued to force her to vacate the property. A tumultuous affair between John Jacob Astor VI and Lucille Stiglich led to the young model serving time in the Miami Beach jail. Deborah C. Pollack delves into an era filled with excitement, style, humor and panache.
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