While the coverage of this work extends to seventeen Georgia counties, fully two-thirds of the book deals with Franklin County. Each chapter begins with a brief description of the county records covered, which, in most cases, are among the oldest extant and date from the mid-eighteenth to the early nineteenth century. By and large, the material for the other sixteen counties--Baldwin, Bullock, Clarke, Jackson, Jasper, Jefferson, Jones, Laurens, Lincoln, Madison, Morgan, Pulaski, Putnam, Tatnall, Telfair, and the city of Augusta--consists of marriage records naming the bride and groom, and name indexes to wills and estates.
Reproductions of O'Keeffe's works highlight this examination of the artist's life, including her place in the American tradition and her return to the rural subjects of her childhood
The predecessor to the North Texas State Fair and Rodeo was reported in the October 15, 1885, Denton Doings as consisting of horse races sponsored by the Denton County Fair and Blooded Stock Association (DCFBSA). The next mention was 1890, when the association stockholders had the opportunity to purchase shares of the fairgrounds, thus ending the fair until five years later. The DCFBSA was reorganized in 1895 to host a fair and horse race near North Texas Normal College. The next race was held in 1896, and the association was incorporated. The fair has operated continuously since except for the years during World War II. These early events evolved into one of the largest fairs and rodeos in Texas, drawing more than 150,000 fairgoers annually.
A revelatory look at Hartley's New Mexico landscapes and the darker side of postwar American modernism Considered to be among the greatest early American modernists, the painter Marsden Hartley (1877-1943) traveled the United States and Europe in his search for a distinctive American aesthetic. His stay in New Mexico resulted in an extraordinary series of landscape paintings--created in New Mexico, New York, and Europe between 1918 and 1924--that show an evolution in style and thinking that is important for understanding both Hartley's oeuvre and American modernism in the postwar years. Marsden Hartley and the West examines this pivotal stage of the painter's career, drawing upon his writings and providing illustrations of rarely seen and previously unpublished works. The author considers Hartley's involvement with the Stieglitz circle and its "soil-and-spirit" philosophy, the Taos art colony, New York Dada, and the impact of historical events such as World War I. Within this setting she analyzes the pastels and oil paintings that suggest Hartley's increasingly ambivalent response to the land. Beginning with optimistic, naturalistic views, the New Mexico works grew progressively darker and more tumultuous, increasingly reflecting a sense of loss brought on by war. The paintings become a site where the landscapes of memory, self, and nation merge, while reflecting broader modernist debates about "American-ness" and a usable past.
This book features fifty-four paintings, photographs, and drawings of the calla lily dating from the 1860s to 1940. It includes nine of O'Keeffe's most renowned paintings of the flower as well as works by Imogen Cunningham, Charles Demuth, Marsden Hartley, John La Farge, Man Ray, Joseph Stella, and Edward Weston. The book includes an introduction by esteemed O'Keeffe scholar Barbara Buhler Lynes and essays on various aspects of the flower in American art by Charles C. Eldredge and James Moore."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Explores O'Keeffe's unmatched accomplishments in still-life painting in two essays accompanied by reproductions of her work and photographs of her studios.
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