This study of her work confirms that the idea of progress toward the afterlife is a recurrent motif, arising from a personal involvement in the movement of Spiritualism and paralleling the automatic writing passages in The Result of an Experiment (1909), anonymously published by Evelyn and her husband William De Morgan.".
This study of her work confirms that the idea of progress toward the afterlife is a recurrent motif, arising from a personal involvement in the movement of Spiritualism and paralleling the automatic writing passages in The Result of an Experiment (1909), anonymously published by Evelyn and her husband William De Morgan.".
For much of her life she worked alone, brilliant but eccentric, with ideas that made little sense to her colleagues. Yet before DNA and the molecular revolution, Barbara McClintock's tireless analysis of corn led her to uncover some of the deepest, most intricate secrets of genetic organization. Nearly forty years later, her insights would bring her a MacArthur Foundation grant, the Nobel Prize, and long overdue recognition. At her recent death at age 90, she was widely acknowledged as one of the most significant figures in 20th-century science. Evelyn Fox Keller's acclaimed biography, A Feeling for the Organism, gives us the full story of McClintock's pioneering—although sometimes professionally difficult—career in cytology and genetics. The book now appears in a special edition marking the 10th anniversary of its original publication.
This index has been compiled as a quick reference guide to biographies of 9,052 professional and amateur artists active in Canada from the seventeenth century to the present. The artists represent 42 professional categories, from animation to topography. In addition to 8,261 Canadian artists, the Index has 391 British, 300 American, and 100 European artists, all of whom spent part of their careers in Canada. Each entry provides the artist's name, date and place of birth and death (or years the artist flourished, if birth and death dates are not available), the nationality (if not Canadian), type of artist (major medium media used), and sources in which biographical information may be found. Several hundred cross-references link the various names used by some artists during the course of their careers.
Constructing the Spanish Empire in Havana examines the political economy surrounding the use of enslaved laborers in the capital of Spanish imperial Cuba from 1762 to 1835. In this first book-length exploration of state slavery on the island, Evelyn P. Jennings demonstrates that the Spanish state’s policies and practices in the ownership and employment of enslaved workers after 1762 served as a bridge from an economy based on imperial service to a rapidly expanding plantation economy in the nineteenth century. The Spanish state had owned and exploited enslaved workers in Cuba since the early 1500s. After the humiliating yearlong British occupation of Havana beginning in 1762, however, the Spanish Crown redoubled its efforts to purchase and maintain thousands of royal slaves to prepare Havana for what officials believed would be the imminent renewal of war with England. Jennings shows that the composition of workforces assigned to public projects depended on the availability of enslaved workers in various interconnected labor markets within Cuba, within the Spanish empire, and in the Atlantic world. Moreover, the site of enslavement, the work required, and the importance of that work according to imperial priorities influenced the treatment and relative autonomy of those laborers as well as the likelihood they would achieve freedom. As plantation production for export purposes emerged as the most dynamic sector of Cuba’s economy by 1810, the Atlantic networks used to obtain enslaved workers showed increasing strain. British abolitionism exerted additional pressure on the slave trade. To offset the loss of access to enslaved laborers, colonial officials expanded the state’s authority to sentence deserters, vagrants, and fugitives, both enslaved and free, to labor in public works such as civil construction, road building, and the creation of Havana’s defensive forts. State efforts in this area demonstrate the deep roots of state enslavement and forced labor in nineteenth-century Spanish colonialism and in capitalist development in the Atlantic world. Constructing the Spanish Empire in Havana places the processes of building and sustaining the Spanish empire in the imperial hub of Havana in a comparative perspective with other sites of empire building in the Atlantic world. Furthermore, it considers the human costs of reproducing the Spanish empire in a major Caribbean port, the state’s role in shaping the institution of slavery, and the experiences of enslaved and other coerced laborers both before and after the beginning of Cuba’s sugar boom in the early nineteenth century.
In this comprehensive catalogue of the work of the 15th-century painter and draftsman, Stefano da Verona (1375-ca. 1438), Karet reviews past scholarship and corrects old misunderstandings that produced an inconsistent, heterogeneous and misinformed corpus. Her attributions are based on stylistic arguments, technical analysis, and the relationship of the drawings to a limited number of secure paintings by this important Late Gothic North Italian painter. The restricted but sound body of works Stefano da Verona executed is compiled in rich catalogue entries that include discussions of style, iconography, patronage, paper and sketchbook analysis, important issues of workshop production and of the history of drawings and collectionism.
Compiles information and interpretations on the past 500 years of African American history, containing essays on historical research aids, bibliographies, resources for womens' issues, and an accompanying CD-ROM providing bibliographical entries.
An exploration of the lives and works of the members of the Beaver Hall Group. Founded in 1920, the group was in the vanguard of bringing Modernism to Canada and is notable for its inclusion of women who now rank among the country’s most outstanding painters.
Evelyn Karet's in-depth study of the Antonio II Badile Album - the earliest known example of an art collection pasted onto the pages of a book - is both focused and broad in its appeal to those interested in the early modern era. The provenance of the album is traced from its assemblage to the seventeenth-century collection of Conte Lodovico Moscardo to its dismantling by the dealer Francis Matthiesen in the 1950s, establishing that the volume conserved in the Frits Lugt Collection is not an original but a replica produced by Matthiesen. Although Antonio II must be celebrated as the collector of the drawings, new paleographic analysis has identified the actual compiler of the album after Antonio?s death providing a terminus post quem in the late 1530s or early 1540s. Karet enlarges the focus from the album itself to the historic tradition of collecting drawings in northern Italy in the early modern era before Vasari, for which the album provides a new point of reference. Throughout the book, Karet discusses the Badile family, examines the individual drawings in the book, investigates the contacts between artists and humanists, their rich, diverse collections and the humanist mind-set that fostered the appreciation of drawings. She explores notable early drawing collections in northern Italy and the role of northern Italy as a center of collection in the sixteenth and seventeenth centuries. The book concludes with two appendices: a reconstruction of the original album, including a discussion of the reconstruction process, suggestions about what the album originally looked like, and a page-by-page guide to its contents; and a detailed analysis of Francis Matthiesen's career. This book opens up new areas of inquiry into an overlooked subject.
French author Chretien de Troyes is now firmly estabished as the most important vernacular writer of the 12th-century renaissance. Chretien, a native of Troyes in Champagne, was patronized by two powerful nobles & was thus well placed to compose the courtly lit. that characterized his time. His works include the earliest known Arthurian romance; the earliest & most sustained commentary on the Legend of Tristan & Iseut; the earliest known version of the story of Lancelot & Guinevere; & the earliest known romance about the Grail. Contents of this study: (1) "Erec et Enide": The Norms of the Narrative; The Rejection of the "Marvellous"; & The Problem of Narrative Continuity; (2) "Cliges": The Technique of Alternation; The Technique of Displacement; & The Silence of Soredamors; (3) Lancelot: "Le Chevalier de la Charrette": Internalizing the Narrative; The Manipulation of Obstacles; & The Adaptation of Roles; (3) Yvain: "Le Chevalier au Lion": Externalizing the Narrative; The Delicate Balance; & The Disappearance of the Omniscient Narrator"; (4) Conclusion; & (5) Bibliography.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.