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020 _a9780271064673
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024 7 _a10.1515/9780271064673
_2doi
035 _a(DE-B1597)9780271064673
035 _a(DE-B1597)583644
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aNB210
_b.D33 2014eb
072 7 _aART015100
_2bisacsh
082 0 4 _a730.82/0973
_223
084 _aonline - DeGruyter
100 1 _aDabakis, Melissa
_eautore
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]
264 4 _c©2014
300 _a1 online resource (304 p.) :
_b100 illustrations/3 maps
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _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
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.
650 0 _aFeminism and art.
650 0 _aSculpture, American
_zItaly
_zRome
_y19th century.
650 0 _aSculpture, Neoclassical
_zItaly
_zRome.
650 0 _aWomen sculptors
_zUnited States
_xHistory
_y19th century.
650 7 _aART / History / Modern (late 19th Century to 1945).
_2bisacsh
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
942 _cEB
999 _c187241
_d187241