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_a730.82/0973 _223 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aDabakis, Melissa _eautore |
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| 245 | 1 | 2 |
_aA Sisterhood of Sculptors : _bAmerican Artists in Nineteenth-Century Rome / _cMelissa Dabakis. |
| 264 | 1 |
_aUniversity Park, PA : _bPenn State University Press, _c[2021] |
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| 264 | 4 | _c©2014 | |
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_a1 online resource (304 p.) : _b100 illustrations/3 maps |
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_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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_atext file _bPDF _2rda |
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_tFrontmatter -- _tContents -- _tIllustrations -- _tAcknowledgments -- _tIntroduction -- _tPart I: Feminine Professionalism in Boston and Rome -- _t1 The Boston- Rome Nexus -- _t2 Neoclassicism in Cosmopolitan Rome -- _t3 "A Woman Artist Is an Object of Peculiar Odium" -- _tPart II: Women Sculptors and the Politics of Rome -- _t4 Rome in the Colonial Imagination -- _t5 Reimagining Italy -- _tPart III: The Civil War, Reconstruction, and the Suffrage Debates -- _t6 Antislavery Sermons in Stone -- _t7 Women Sculptors, Suffrage, and the Public Stage -- _tPostscript -- _tNotes -- _tSelected Bibliography -- _tIndex |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
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| 520 | _aThis project is made possible through support from the Terra Foundation for American Art.When Elizabeth Cady Stanton penned the Declaration of Sentiments for the first women's rights convention, held in Seneca Falls, New York, in 1848, she unleashed a powerful force in American society. In A Sisterhood of Sculptors, Melissa Dabakis outlines the conditions under which a group of American women artists adopted this egalitarian view of society and negotiated the gendered terrain of artistic production at home and abroad. Between 1850 and 1876, a community of talented women sought creative refuge in Rome and developed successful professional careers as sculptors. Some of these women have become well known in art-historical circles: Harriet Hosmer, Edmonia Lewis, Anne Whitney, and Vinnie Ream. The reputations of others have remained, until now, buried in the historical record: Emma Stebbins, Margaret Foley, Sarah Fisher Ames, and Louisa Lander. At midcentury, they were among the first women artists to attain professional stature in the American art world while achieving international fame in Rome, London, and other cosmopolitan European cities. In their invention of modern womanhood, they served as models for a younger generation of women who adopted artistic careers in unprecedented numbers in the years following the Civil War.At its core, A Sisterhood of Sculptors is concerned with the gendered nature of creativity and expatriation. Taking guidance from feminist theory, cultural geography, and expatriate and postcolonial studies, Dabakis provides a detailed investigation of the historical phenomenon of women's artistic lives in Rome in the mid-nineteenth century. As an interdisciplinary examination of femininity and creativity, it provides models for viewing and interpreting nineteenth-century sculpture and for analyzing the gendered status of the artistic profession. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Mai 2021) | |
| 650 | 0 |
_aExpatriate sculptors _zItaly _zRome _xHistory _y19th century. |
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| 650 | 0 | _aFeminism and art. | |
| 650 | 0 |
_aSculpture, American _zItaly _zRome _y19th century. |
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| 650 | 0 |
_aSculpture, Neoclassical _zItaly _zRome. |
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| 650 | 0 |
_aWomen sculptors _zUnited States _xHistory _y19th century. |
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| 650 | 7 |
_aART / History / Modern (late 19th Century to 1945). _2bisacsh |
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| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9780271064673?locatt=mode:legacy |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780271064673 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/cover/covers/9780271064673.jpg |
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