Keramic Studio
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Keramic Studio
Author | : Anna B. Leonard,Adelaide Alsop Robineau |
Publsiher | : Unknown |
Total Pages | : 290 |
Release | : 1921 |
Genre | : Art |
ISBN | : STANFORD:36105022868652 |
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Professional Pursuits
Author | : Catherine W. Zipf |
Publsiher | : Univ. of Tennessee Press |
Total Pages | : 248 |
Release | : 2007 |
Genre | : Art |
ISBN | : 1572336013 |
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"Zipf focuses on five gifted women in various parts of the country. In San Diego, Hazel Wood Waterman parlayed her Arts and Crafts training into a career in architecture. Cincinnati's Mary Louise McLaughlin expanded on her interest in Arts and Crafts pottery by inventing new ceramic technology. New York's Candace Wheeler established four businesses that used Arts and Crafts production to help other women earn a living. In Syracuse, both Adelaide Alsop Robineau and Irene Sargent were responsible for disseminating Arts and Crafts-related information through the movement's publications. Each woman's story is different, but each played an important part in the creation of professional opportunities for women in a male-dominated society.".
Keramic Studio
Author | : Anonim |
Publsiher | : Unknown |
Total Pages | : 444 |
Release | : 1953 |
Genre | : Decoration and ornament |
ISBN | : UGA:32108053949718 |
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Design keramic Studio
Author | : Anonim |
Publsiher | : Unknown |
Total Pages | : 452 |
Release | : 1958 |
Genre | : Decoration and ornament |
ISBN | : UCR:31210005239312 |
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Keramic Studio
Author | : Anonim |
Publsiher | : Unknown |
Total Pages | : 36 |
Release | : 1922 |
Genre | : Decoration and ornament |
ISBN | : CUB:U183024582430 |
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Keramic Studio
Author | : Adelaide Alsop Robineau |
Publsiher | : Unknown |
Total Pages | : 135 |
Release | : 1910 |
Genre | : Decoration and ornament |
ISBN | : OCLC:987930831 |
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Keramic Studio
Author | : Anna B Leonard,Adelaide Alsop 1865?-1929 Robineau |
Publsiher | : Legare Street Press |
Total Pages | : 288 |
Release | : 2021-09-09 |
Genre | : Electronic Book |
ISBN | : 1013925572 |
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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Indian Craze
Author | : Elizabeth Hutchinson |
Publsiher | : Duke University Press |
Total Pages | : 304 |
Release | : 2009-03-23 |
Genre | : Art |
ISBN | : 9780822392095 |
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In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.