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Journal articles on the topic 'Art History. Art, American Home in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metropolitan Museum of Art. After becoming part of the Philadelphia Museum of Art, it finally found a home at the Pennsylvania State Museum of Anthropology. Emily de Forest represents an initial movement in the estheticization of ethnic and folk crafts, an appropriation that has since led to the establishment of specifically defined museums of folk art and craft.

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Chunikhin, Kirill. "At Home among Strangers: U.S. Artists, the Soviet Union, and the Myth of Rockwell Kent during the Cold War." Journal of Cold War Studies 21, no. 4 (2019): 175–207. http://dx.doi.org/10.1162/jcws_a_00910.

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After World War II, Soviet institutions organized many exhibitions of the American artist Rockwell Kent that bypassed the U.S. government. Promotion of Kent's work in the USSR was an exclusively Soviet enterprise. This article sheds new light on the Soviet approach to the representation of U.S. visual art during the Cold War. Drawing on U.S. and Russian archives, the article provides a comprehensive analysis of the political and aesthetic factors that resulted in Kent's immense popularity in the Soviet Union. Contextualizing the Soviet representation of Kent within relevant Cold War contexts, the article shows that his art occupied a specific symbolic position in Soviet culture. Soviet propaganda reconceptualized his biography and established the “Myth of Rockwell Kent”—a myth that helped to legitimate Soviet ideology and anti-American propaganda.

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Zimmerman, Jonathan. "Brown-ing the American Textbook: History, Psychology, and the Origins of Modern Multiculturalism." History of Education Quarterly 44, no. 1 (2004): 46–69. http://dx.doi.org/10.1111/j.1748-5959.2004.tb00145.x.

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In June 1944, a delegation of African-American leaders met with New York City school officials to discuss a central focus of black concern: history textbooks. That delegation reflected a broad spectrum of metropolitan Black opinion: Chaired by the radical city councilman Benjamin J. Davis, it included the publisher of theAmsterdam News—New York's major Black newspaper—as well as the bishop of the African Orthodox Church. In a joint statement, the delegates praised public schools' recent efforts to promote “intercultural education”—and to reduce “prejudice”—via drama, music, and art. Yet if history texts continued to spread lies about the past, Blacks insisted, all of these other programs would come to naught. One book described slaves as “happy”; another applauded the Ku Klux Klan for keeping “foolish Negroes” out of government. “Such passages… could well have come from the mouths of the fascist enemies of our nation,” the Black delegation warned. Even as America fought “Nazi doctrine” overseas, African Americans maintained, the country needed to purge this philosophy from history books at home.

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Busciglio-Ritter, Thomas. "‘Covetable pictures’." Journal of the History of Collections 32, no. 1 (2018): 73–90. http://dx.doi.org/10.1093/jhc/fhy059.

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Abstract Born in 1820, John Taylor Johnston is a pivotal figure in the history of American collecting. A pioneer in transatlantic art collecting, his numerous visits to Europe helped him develop his taste, enrich his possessions, and build a reliable network of artists and dealers. He then re-injected this experience into a rising New York art market, becoming the first collector to enjoy success through the weekly public opening of a domestic art gallery. Here he displayed his highly-praised collection of European and American paintings, comprising works by Vernet, Gérôme, Meissonier, Homer and Church. Along with his brother James, Johnston also founded the very first edifice in the United States devoted entirely to housing artists – the Tenth Street Studio Building, designed by architect Richard Morris Hunt. His reputation as a collector eventually led to his appointment as first president of the newly formed Metropolitan Museum in 1871.

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Lovatt, Anna. "An underground economy." Journal of the History of Collections 32, no. 3 (2020): 573–83. http://dx.doi.org/10.1093/jhc/fhz035.

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Abstract The art collection of the German–American sculptor Ruth Vollmer (1903–1982) consisted primarily of gifts or exchanges with other artists, which were meticulously arranged in her New York apartment. Provisional and eccentric, these objects were often anomalous in the practices of the artists who produced them, and were not necessarily intended for public display. Drawing on sociologist David Cheal’s description of the gift economy as ‘a system of action which is characterized by the principle of redundancy’, this article argues that the objects collected by Vollmer were doubly ‘redundant’, being playful or throwaway experiments that were recuperated as gifts. Despite their marginal status in art history, however, the objects Vollmer collected can be interpreted as manifestations of the interpersonal relationships that she cultivated in her own artistic practice, and in the diasporic ‘salons’ she hosted at her home in the aftermath of World War II.

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MIYAKAWA, FELICIA M. "“A Long Ways from Home?” Hampton Institute and the Early History of “Sometimes I Feel like a Motherless Child”." Journal of the Society for American Music 6, no. 1 (2012): 1–49. http://dx.doi.org/10.1017/s1752196311000393.

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AbstractThe history of the well-known spiritual “Sometimes I Feel like a Motherless Child,” is wrapped up in the legacy of the Hampton Students, an ensemble of African American students modeled after the Fisk Jubilee Singers. The song's inclusion in the 1901 edition ofCabin and Plantation Songs as Sung by the Hampton Studentssolidified its place in the growing canon of spirituals. Although the tune remained in Hampton Institute's repertoire through subsequent printings ofCabin and Plantation Songs, it also entered the art music world, quickly becoming a favorite of performers and arrangers. But even as the tune journeyed away from Hampton, it remained tightly bound to composers, performers, and choir directors affiliated with what is now Hampton University. The story of “Motherless Child's” entrance into Hampton's repertoire around the turn of the twentieth century, its move beyond Hampton, and its later return is the story of the complex racial, cultural, and geographical relationships that have characterized the Institute's history. The telling of this story reveals a networked cast of characters, all invested in the health and growth of African American music in the early twentieth century, crossing paths in Tennessee, Mississippi, Massachusetts, New York, Connecticut, London, and, of course, Virginia.

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7

Tallack, Douglas. "Siegfried Giedion, Modernism and American Material Culture." Journal of American Studies 28, no. 2 (1994): 149–67. http://dx.doi.org/10.1017/s0021875800025433.

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The Swiss architectural critic and historian of technology, Siegfried Giedion, was born in 1893 and died in 1968. Space, Time and Architecture: The Growth of a New Tradition (1941) and Mechanization Takes Command: A Contribution to Anonymous History (1948) are his two most well-known books and both came out of time spent in the United States between 1938 and 1945. World War Two kept Giedion in America though he, unlike many other German-speaking European intellectuals, came home and in 1946 took up a teaching position at the Federal Institute of Technology in Zurich where he later became professor of art history. While in the United States he delivered the Charles Eliot Norton Lectures (1938–39), saw them in print as Space, Time and Architecture, and also completed most of the research in industrial archives and patent offices for Mechanization Takes Command. These two books are an important but, for the past twenty years, a mostly neglected, analysis of American material culture by a European intellectual, whose interests in Modernism included painting — notably Cubism and Constructivism — as well as architecture and planning. The period which saw the publication of Giedion's key works is, itself, an overlooked phase in the trans-Atlantic relationship between Modernism and modernization.

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8

Gelfant, Blanche H. "The Possessive Self in Mary Antin and Anzia Yezierska: Gender, Jewishness, and the Assumptions of Americanization." Prospects 23 (October 1998): 357–77. http://dx.doi.org/10.1017/s0361233300006384.

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Mary Antin was not modest in her use of the possessive case in The Promised Land — in her iterations of Mine, Mine, Mine. While still a schoolgirl, Antin asserted that everything she saw in the Boston Public Library, a “treasure house” of wisdom and art, was “Mine.” As the child of a newly naturalized American, she felt entitled to claim possession; the library and its treasured holdings were “Mine,” she said, “because I was a citizen; mine, though I was born an alien; mine … My palace — mine! … This is mine” (266, original emphasis). By the time Antin came to the soaring conclusion of The Promised Land, she had exchanged her natural (and naturalized) father for the country's Founding Father, and as the child of George Washington, she claimed as her “heritage” everything in human evolutionary history that had led to the creation of America and everything yet to be evolved. “I am the youngest of America's children,” she wrote, “and into my hands is given all her priceless heritage … Mine is the whole majestic past, and mine is the shining future” (286). In swooping hyperbole, Antin equated American citizenship with possession, and possession with inheritance, property, and rights: with a treasure house in which she “had a right to be … at home” (266).

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RYDELL, ROBERT W. "THE PROXIMITY OF THE PAST: EUGENICS IN AMERICAN CULTURE." Modern Intellectual History 7, no. 3 (2010): 667–78. http://dx.doi.org/10.1017/s1479244310000296.

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In 1935, as the Nazis’ state-of-the art eugenics exhibition from the Deutsches Hygiene Museum was concluding its American tour, a decision had to be made about whether to return the displays to Germany or to house them in an American museum. After the American Academy of Medicine decided against the display because of its political implications, the director of the Buffalo Museum of Science, Carlos Cummings, himself a physician, offered his institution as the exhibition's permanent home. “What is the astounding eugenics program upon which Chancellor Hitler has launched the German people?” Cummings wondered aloud. “As a matter of public interest, without endorsement,” he added, “the Museum will display in the Central Hall throughout this final quarter of 1935, a set of fifty-one posters and charts . . . which gives Americans a graphic explanation of Germany's campaign to rear in posterity ‘a new race nobility.’” Seven years later, with war raging, the museum received permission from the company that had insured the exhibition, to dismantle it from its permanent home in the museum's Hall of Heredity. An exhibition about eugenics, Nazi eugenics no less, that had been enthusiastically received as it had traveled the United States in the mid-1930s, had seemingly fallen victim to the war against eugenics launched by cultural anthropologists and geneticists. In light of the broad scholarship on eugenics, this certainly would be a plausible reading of the deinstallation of the Nazi eugenics exhibition. But the three books under review here suggest a more complex reading, one that suggests that eugenics and racism, considered as ideological systems, were less easily dislodged from American culture than from Buffalo's Museum of Science.

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Saad, Saad Michael. "The Contemporary Life of the Coptic Orthodox Church in the United States." Studies in World Christianity 16, no. 3 (2010): 207–25. http://dx.doi.org/10.3366/swc.2010.0101.

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The present state of the Coptic Orthodox Church in America could not have been imagined fifty years ago. As an integral part of the Coptic Orthodox Church of Egypt, the young archdiocese in America evolved from non-existence to a formidable 151 parishes, two monasteries, three seminaries and many benevolent, educational and media organisations. Waves of immigration from Egypt brought not only Copts, but also a wealth of Coptic art, music, architecture, literature and spirituality. These treasures are being preserved and promoted by the immigrants and the second generation; in the homes, churches and community centers; and also at American universities via programs of Coptic studies. This article covers the above topics and discusses a few of the challenges that come with immigration and assimilation, especially when the community desires to maintain the depth and versatility of an ancient religious culture.

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11

Schinto, Jeanne. "Remembering Dione Lucas." Gastronomica 11, no. 4 (2011): 34–45. http://dx.doi.org/10.1525/gfc.2012.11.4.34.

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A remembrance and reconsideration of Dione Lucas (1909–1971), one of America's first television-cooking-show hosts. Credited with being the first to introduce the techniques and traditions of French cuisine to the American home kitchen in the late 1940s, Lucas was superseded by Julia Child and today has been largely forgotten. Worse, food-world insiders who do remember her don't often have kind things to say. Working with her papers, donated to the Schlesinger Library at the Radcliffe Institute for Advanced Study at Harvard University, and in extensive interviews with her elder son, Mark Lucas, the author sets straight many questions about one of our first culinary celebrities, a woman who saw cooking as an art and believed herself to be an artist—a stance distinctly at odds with the idea of television's mass appeal and with the approach of many of her colleagues. Yet, the author argues Lucas deserves her modest place in culinary history and was, in Mark's words, “an extraordinarily complex person, but essentially unsophisticated in the best sense of the term.”

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12

Klaus, Angela V., and William K. Barnett. "Museum Applications For Scanning Electron Microscopy: From Mollusks To Meteorites." Microscopy and Microanalysis 5, S2 (1999): 12–13. http://dx.doi.org/10.1017/s1431927600013386.

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In addition to dinosaur bones and gem collections, the American Museum of Natural History (AMNH) is also home to nine academic research departments: Anthropology, Herpetology, Mammalogy, Earth and Planetary Sciences, Ichthyology, Ornithology, Entomology, Invertebrates, and Vertebrate Paleontology. Each of these departments supports curators, research scientists and assistants, graduate students, and post-docs engaged in a broad spectrum of research activities.The Core Microscopy Facility houses a state-of-the-art Cold Field Emission SEM equipped with an energy dispersive x-ray spectrometer. This instrument is extremely versatile, as it must be in order to meet the challenges of a diverse imaging and microanalytical environment. Our applications run the gamut from high-resolution electron imaging of insect parts to quantitative x-ray microanalysis of 5 billion-year-old meteorites.Mineral scientists, archeologists, anthropologists, and artifact conservators use X-ray microanalysis extensively at the AMNH. Current projects include the analysis of chondrites (meteorites that condensed at the same time as the solar system), Neolithic pottery remains, and pigment fragments from Native American artwork.

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13

POSNOCK, ROSS. "“LIKE BUT UNALIKE”: ERIC SUNDQUIST AND LITERARY HISTORICISM." Modern Intellectual History 4, no. 3 (2007): 629–42. http://dx.doi.org/10.1017/s147924430700145x.

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Eric Sundquist, Strangers in the Land: Blacks, Jews, Post-Holocaust America (Cambridge, MA: Harvard University Press, 2005)As measured by that deadly but inescapable phrase “quantity and quality,” Eric Sundquist is perhaps the most productive American literature scholar of his generation. Since 1979, when he was still in his twenties, he has authored half a dozen books while editing another half-dozen. All have made an impact and many of these have been highly influential—his first book, Home as Found: Authority and Genealogy in Nineteenth-Century American Literature, was among the very first to read canonical American works through the lens of contemporary literary and psychoanalytic theory; his edited collection American Realism: New Essays (1982) proved pivotal in reviving the critical energy in a major but long-dormant literary and historical period. To Wake the Nations: Race in the Making of American Literature (1993) was by implicit design and to powerful effect nothing less than a rewriting of the foundational work of American literary history and criticism—F. O. Matthiessen's monumental American Renaissance: Art and Expression in the Age of Emerson and Whitman (1941). I will spend some time describing To Wake the Nations not only because of the book's exceptional importance but because its eloquent introduction provides the closest thing to a critical credo that Sundquist has written. His description there of his critical ideals—particularly of “justice,” boundary-crossing and “verification”—will help orient our approach to Strangers in the Land, which remains loyal to these ideals as it extends his interest in race and ethnicity, black and white, to the tormented subject of blacks and Jews, united by a “bond of alienation.” (52).

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14

Colley, Linda. "The Politics of Eighteenth-Century British History." Journal of British Studies 25, no. 4 (1986): 359–79. http://dx.doi.org/10.1086/385871.

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Britain's “long” eighteenth century, which began with one aristocratic revolution in 1688 and ended with another in 1832, was a pageant of success. The nation's art and architecture reached their elegant and original best. Its capital became the center of print culture, finance, fashion, and commercial creativity, the largest and most vibrant city in the Western world. The British constitution became a topic for eulogy, as much by the unenlightened and illiterate at home as by the Enlightenment literati abroad. The armed forces, fiscal system, and bureaucracy of the British state grew in efficacy and range, bringing victory in all but one of a succession of major wars. Legitimized by achievement and buttressed by massive economic and political power, Britain's landed elite kept at bay every domestic revolution except the industrial one, which only enriched it more. The American Revolution, of course, was not averted; but while this crisis embarrassed the British Empire, it did not destroy it. Even before 1776, the conquest of Canada had reduced the thirteen colonies' strategic significance, just as their profitability to the mother country had been outstripped by its Indian possessions; their final loss was made up, and more than made up, with relentless and almost contemptuous speed. Between 1780 and 1820 some 150 million men and women in India, Africa, the West Indies, Java, and the China coast succumbed to British naval power and trading imperatives.

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15

Blair, Karen J. "Reviews of Books:Painting Professionals: Women Artists and the Development of Modern American Art, 1870-1930 Kirsten Swinth; At Home in the Studio: The Professionalization of Women Artists in America Laura R. Prieto." American Historical Review 107, no. 5 (2002): 1571–72. http://dx.doi.org/10.1086/532915.

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16

Lewis, Adrian. "FRAMING AMERICAN ART: A SOCIAL HISTORY OF AMERICAN ART." Art Book 12, no. 3 (2005): 35–36. http://dx.doi.org/10.1111/j.1467-8357.2005.00569.x.

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17

Phillips, Ruth B. "Native American Art and the New Art History." Museum Anthropology 13, no. 4 (1989): 5–13. http://dx.doi.org/10.1525/mua.1989.13.4.5.

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18

Hill Stoner, Joyce. "Turning Points in Technical Art History in American Art." American Art 26, no. 1 (2012): 2–9. http://dx.doi.org/10.1086/665624.

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19

Kleinegger, Christine, and Joseph F. Meany. "Lest We Forget-Citizens & Soldiers: Rochester Museums Commemorate the Fiftieth Anniversary of America's Entry into World War II; The War Comes Home: Monroe County and the Second World War; At Home on the Home Front; Shifting Gears: Rochester at War, 1941-1945; Bringing the War Home: American Photography during World War II; Jerome Witkin: War and Liberation; Art and Politics: The Posters of Alexander Lembersky." Journal of American History 79, no. 3 (1992): 1107. http://dx.doi.org/10.2307/2080805.

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20

Pierre, Sharon D. La, and P. Smith. "The History of American Art Education: Learning about Art in American Schools." Studies in Art Education 39, no. 3 (1998): 285. http://dx.doi.org/10.2307/1320372.

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21

Stankiewicz, Mary Ann, and Peter Smith. "The History of American Art Education: Learning about Art in American Schools." History of Education Quarterly 37, no. 3 (1997): 327. http://dx.doi.org/10.2307/369459.

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22

Efland, Arthur, and Peter Smith. "The History of American Art Education: Learning about Art in American Schools." Journal of Aesthetic Education 32, no. 3 (1998): 117. http://dx.doi.org/10.2307/3333315.

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23

Armitage, Shelley, and Cecile Whiting. "Antifascism in American Art." Journal of American History 77, no. 1 (1990): 345. http://dx.doi.org/10.2307/2078753.

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24

Bedell, Rebecca Bailey. "The New American Art." Reviews in American History 31, no. 2 (2003): 322–29. http://dx.doi.org/10.1353/rah.2003.0023.

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25

Snyder-Grenier, Ellen M., Donna Gustafson, Nan A. Rothschild, Kendall Taylor, Gilbert T. Vincent, and Linda Weintraub. "Art What Thou Eat: Images of Food in American Art." Journal of American History 78, no. 3 (1991): 1004. http://dx.doi.org/10.2307/2078802.

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26

Holt, Jeff. "Looking at American History through Art." History Teacher 31, no. 2 (1998): 181. http://dx.doi.org/10.2307/494061.

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Goerlitz, Amelia. "Mapping a Transnational American Art History." American Art 31, no. 2 (2017): 62–64. http://dx.doi.org/10.1086/694066.

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28

Cutler, Jody B., Richard J. Powell, Jock Reynolds, Juanita M. Holland, and Adrienne L. Childs. "African Americans and American Art History." Art Journal 59, no. 1 (2000): 101. http://dx.doi.org/10.2307/778087.

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29

Loukopoulou, Katerina. "Projected art history: biopics, celebrity culture, and the popularizing of American art." Historical Journal of Film, Radio and Television 35, no. 4 (2015): 686–88. http://dx.doi.org/10.1080/01439685.2015.1102445.

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Beidelman, T. O. "Inside Culture: Art and Class in the American Home:Inside Culture: Art and Class in the American Home." Museum Anthropology 18, no. 2 (1994): 60. http://dx.doi.org/10.1525/mua.1994.18.2.60.

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31

Paoletti, John T., and Philip Fisher. "Making and Effacing Art: Modern American Art in a Culture of Museums." Journal of American History 79, no. 4 (1993): 1671. http://dx.doi.org/10.2307/2080335.

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32

Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.

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33

Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library." Art Libraries Journal 30, no. 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.

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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

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34

Walker, Harriet. "A Feminist Study of African American Art in New Orleans: Considerations of Aesthetics, Art History and Art Criticism." Marilyn Zurmuehlen Working Papers in Art Education 14, no. 1 (1997): 30–35. http://dx.doi.org/10.17077/2326-7070.1305.

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Cheetham, Mark A. "THE 'AMERICANNESS' OF AMERICAN ART." Canadian Review of American Studies 18, no. 1 (1987): 121–26. http://dx.doi.org/10.3138/cras-018-01-10.

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Berlo, Janet Catherine. "The Persistence of Vision: Current Issues in Native American Art and Art History." American Indian Culture and Research Journal 10, no. 3 (1986): 65–70. http://dx.doi.org/10.17953/aicr.10.3.4558m744x23j77n1.

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Archuleta, Margaret, Toby Herbst, and Joel Kopp. "The Flag in American Indian Art." Ethnohistory 42, no. 3 (1995): 517. http://dx.doi.org/10.2307/483218.

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Burns, S. "The Civil War and American Art." Journal of American History 100, no. 3 (2013): 841–42. http://dx.doi.org/10.1093/jahist/jat389.

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Verplanck, Anne. "Nature's Nation: American Art and Environment." Journal of American History 106, no. 4 (2020): 1034–35. http://dx.doi.org/10.1093/jahist/jaz700.

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Langa, Helen, Patricia Trenton, Melanie Anne Herzog, et al. "Recent Feminist Art History: An American Sampler." Feminist Studies 30, no. 3 (2004): 705. http://dx.doi.org/10.2307/20458996.

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41

Giunta, Andrea, and George F. Flaherty. "Latin American Art History: An Historiographic Turn." Art in Translation 9, sup1 (2017): 121–42. http://dx.doi.org/10.1080/17561310.2016.1246293.

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Franklin, John Hope, August Meier, Elliott Rudwick, and Darlene Clark Hine. "Afro-American History: State of the Art." Journal of American History 75, no. 1 (1988): 162. http://dx.doi.org/10.2307/1889663.

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Holt, Douglas B., David Halle, Joshua Gamson, and Amelia Simpson. "Inside Culture: Art and Class in the American Home." Journal of Marketing Research 32, no. 4 (1995): 487. http://dx.doi.org/10.2307/3152185.

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Becker, Howard S., and David Halle. "Inside Culture: Art and Class in the American Home." Contemporary Sociology 23, no. 6 (1994): 882. http://dx.doi.org/10.2307/2076105.

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Morgan, Melinda M. "Inside culture: Art and class in the American home." Public Relations Review 21, no. 1 (1995): 81–82. http://dx.doi.org/10.1016/0363-8111(95)90044-6.

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Corrigan, John Michael. "The American Art of Memory." Religion and the Arts 25, no. 1-2 (2021): 70–98. http://dx.doi.org/10.1163/15685292-02501003.

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Abstract This article provides a genealogy of the architectural figuration of human cognition from the ancient world to Renaissance Europe and, finally, to the American Renaissance where it came to possess a striking cultural and literary potency. The first section pursues the two-fold task of elucidating this archetypal trope for consciousness, both its ancient moorings and its eventual transmission into Europe. The second section shows that three of the most prominent writers of the American Renaissance—Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne—engaged this mystically inspired architectonic symbolism, employing far older techno-cultural suppositions about interior space. I thereby offer an account of the intellectual and spiritual heritage upon which Romantic writers in the United States drew to articulate cognitive interiority. These Romantics did more than value creativity in contradistinction to Enlightenment rationalism; they were acknowledging themselves as recipients of the ancient belief in cosmogenesis as self-transformation.

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Parkhurst, Melissa D. "Colonized through Art: American Indian Schools and Art Education, 1889–1915. By Marinella Lentis." Western Historical Quarterly 49, no. 3 (2018): 365–66. http://dx.doi.org/10.1093/whq/why039.

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ODOM, ANNE. "AMERICAN COLLECTORS OF RUSSIAN DECORATIVE ART." Canadian-American Slavic Studies 43, no. 1-4 (2009): 305–39. http://dx.doi.org/10.1163/221023909x00147.

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Howell, Joyce Bernstein. "Encyclopedia of American Folk Art." Journal of American Culture 27, no. 4 (2004): 442–43. http://dx.doi.org/10.1111/j.1542-734x.2004.148_12.x.

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Corman, Catherine A., and William M. Clements. "Native American Verbal Art: Texts and Contexts." Western Historical Quarterly 28, no. 4 (1997): 582. http://dx.doi.org/10.2307/969913.

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