Relevant bibliographies by topics / Decorative arts, Early American

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Decorative arts, Early American'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Decorative arts, Early American"

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Whitmarsh, Bruce A. "Early American Decorative Arts, 1620-1860: A Handbook for Interpreters Rosemary Troy Krill Pauline E. Eversmann." Public Historian 23, no. 4 (2001): 149–50. http://dx.doi.org/10.2307/3379651.

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Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.

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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-
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Tomenchuk, John, and Peter L. Storck. "Two Newly Recognized Paleoindian Tool Types: Single- and Double-Scribe Compass Gravers and Coring Gravers." American Antiquity 62, no. 3 (1997): 508–22. http://dx.doi.org/10.2307/282168.

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A small collection of gravers from the Fisher site, an Early Paleoindian (Parkhill complex) site in Ontario estimated to date between 10,400 and 11,000 years B.P., produced two previously unrecognized tool types: single- and double-scribe compass and coring gravers. Experimental use-wear studies on replicated tools confirm that the compass and coring gravers were probably used on organic materials for engraving single or concentric circles, cutting thin disks, and boring holes. Although not identified as such, the compass graver occurs widely in North American Paleoindian assemblages and, judg
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Howd, Dean. "Joseph Urban and American Scene Design." Theatre Survey 32, no. 2 (1991): 173–86. http://dx.doi.org/10.1017/s0040557400001058.

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Along with Robert Edmond Jones, Norman Bel Geddes, and Lee Simonson, Joseph Urban brought the New Stagecraft to America in the 1920s. No other designer of his period lavished more lush color on the stage or brought scene design closer to the level his contemporaries called “Art.” Urban produced the backdrops of the famous Follies for Florenz Ziegfeld, and the Metropolitan Opera continued to use his sets for more than two decades after his death. As early as 1917 the New York Times risked the prediction that “when the historian of the New York stage writes the record, of the uplift of the art o
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Goscilo, Helena. "Stacking National Identity." Experiment 25, no. 1 (2019): 227–43. http://dx.doi.org/10.1163/2211730x-12341340.

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Abstract The matreshka designed by Sergei Maliutin and turned by Vasilii Zvezdochkin has fulfilled a precisely defined function from its inception in the late 1890s until today. Conceived as a material embodiment of national identity amid Abramtsevo’s revival of endemic Russian traditions, the stacking doll symbolized robust national fecundity. Produced and sold in the workshop Detskoe vospitanie [Children’s Upbringing] established by the Mamontov family, it promoted Russianness in a range of stacked dolls garbed in the ethnic dress of the country’s various regions. During the Soviet era the m
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Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (2007): 177–208. http://dx.doi.org/10.1017/s0020743807070067.

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Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honora
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Vampelj Suhadolnik, Nataša. "Between Ethnology and Cultural History." Asian Studies 9, no. 3 (2021): 85–116. http://dx.doi.org/10.4312/as.2021.9.3.85-116.

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While a few larger collections of objects of East Asian origin entered Slovenian mu­seums after the deaths of their owners in the 1950s and 60s, individual items had begun finding their way there as early as the nineteenth century. Museums were faced early on with the problem not only of how to store and exhibit the objects, but also how to categorize them. Were they to be treated as “art” on account of their aesthetic value or did they belong, rather, to the field of “ethnography” or “anthropology” because they could illustrate the way of life of other peoples? Above all, in which museums wer
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Heckscher, Morrison H., R. Craig Miller, Oswaldo Rodriguez Roque, and Alice Cooney Frelinghuysen. "American Decorative Arts." Recent Acquisitions, no. 1985/1986 (1985): 52. http://dx.doi.org/10.2307/1513692.

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Heckscher, Morrison H., Oswaldo Rodriguez Roque, Frances Gruber Safford, Alice Cooney Frelinghuysen, and Amelia Peck. "American Decorative Arts." Recent Acquisitions, no. 1986/1987 (1986): 62. http://dx.doi.org/10.2307/1513711.

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Roque, Oswaldo Rodriguez, Frances Gruber Safford, and Amelia Peck. "American Decorative Arts." Recent Acquisitions, no. 1987/1988 (1987): 56. http://dx.doi.org/10.2307/1513731.

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Dissertations / Theses on the topic "Decorative arts, Early American"

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York, Karen S. "American portrait cameo cutting an alternate apprenticeship in relief sculpture, 1830-1870 /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162291.

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Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2005.<br>Title from PDF t.p. (viewed April 15, 2009). Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0007. Chair: Michelle Facos.
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Duckworth, Chloë N. "The created stone : chemical and archaeological perspectives on the colour and material properties of early Egyptian glass, 1500-1200 B.C." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13935/.

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The Late Bronze Age in Western Asia and Egypt witnessed an explosion in the production of so-called 'vitreous materials', in particular the earliest glass. From its outset, this material appeared in an enormous variety of colours and colour combinations, the manufacture of which demanded a high degree of technological know-how. The unique properties of glass also rapidly came to the fore, most notably the potential of glass to be worked while hot. Archaeometric research into early Egyptian glass has tended to focus on chemical and isotopic analysis as a means to assign provenance to its raw in
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Lichtman, Sarah A. ""Teenagers Have Taken Over the House"| Print Marketing, Teenage Girls, and the Representation, Decoration, and Design of the Postwar Home, c. 1945-1965." Thesis, The Bard Graduate Center, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3577907.

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<p> The rapid development of consumer culture during the two decades after World War II, coupled with the rise of the teenager, resulted in a powerful cultural and socioeconomic shift that marketers exploited to sell goods and ideas. In this dissertation, I analyze particular spaces and objects marketed to teenagers, particularly teenage girls, for use in the postwar home, both real and imagined. I highlight the ways in which age, gender, privacy, personal identity, parental concerns, and familial relationships intersected with the design and use of specific spaces, interior decoration, and se
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Robinson, Rebecca J. "American Sportswear: A Study Of The Origins And Women Designers From The 1930’s To The 1960’s." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1054926324.

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Davis, Kiersten Claire. "Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste"." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1465.

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This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, coloni
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Notarnicola, Cathy. "Woven lives, weavers' voices: A family of Dine weaversspeak about Dine textiles." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/278772.

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This research documents and discusses the reactions of a family of Dine (Navajo) weavers who were asked to examine selected Dine textiles in the Arizona State Museum's collection. Although the ways Dine weavers perceive their creations is not the focus of many studies, this research explores their aesthetics to gain a greater understanding of the weaving tradition. Building on cross-cultural interviewing techniques that originally used photographs, this study uses a selection of museum textiles to explore Dine aesthetics. The results address Dine weavers' views of the meanings and changes in D
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Taylor, Jennifer Renee. "Ocular demonstrations: cross-dressing and the body in early american texts." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/250.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>English
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Carr, Harriet Christian. "Sweet Briar, 1800-1900: Palladian Plantation House, Italianate Villa, Aesthetic Retreat." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/91.

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Sweet Briar House is one of the best documented sites in Virginia, with sources ranging from architectural drawings and extensive archives to original furnishings. Sweet Briar House was purchased by Elijah Fletcher, a prominent figure in Lynchburg, Virginia, in 1830. Thirty years later it passed into the possession of his daughter Indiana Fletcher Williams, and remained her home until her death in 1900. In her will, Williams left instructions for the founding of Sweet Briar Institute, an educational institution for women that exists today as Sweet Briar College. This dissertation examines S
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Garces, Abigail. "Mexican political caricature : the crises of the early 1900s and 1990s." FIU Digital Commons, 2001. https://digitalcommons.fiu.edu/etd/3600.

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The purpose of this study was to compare the political, economic and social problematic of Mexico in the early 1900s and the 1990s, using political caricatures as primary sources of information. To fully understand the Porfiriato regime during the early 1900s, images from the Mexican newspapers El Diablito Rojo, El Hijo del Ahuizote and El Paladin were selected and analyzed, while Carlos Salinas’ government of the early 1990s was studied through the caricatures found in La Jornada. The political caricatures demonstrated that similar conflicts existed during the early 1900s and the 1990s, such
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Gerhold, Emily. "American Beauties: The Cult of the Bosom in Early Republican Art and Society." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/353.

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This interdisciplinary project offers new research to introduce the American cult of the bosom, which emerged in the years following the Revolutionary War and helped shape the discourse around women’s roles in the early republic. The cult of the bosom sought to shift the way in which the female body, and especially the bosom, was regarded and represented by identifying it as the locus of a number of positive qualities associated with women, including virtue, modesty, beauty, and grace. This shift constituted, in the minds of citizens, a significant way in which American culture honored and cel
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Books on the topic "Decorative arts, Early American"

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1942-, Eversmann Pauline K., and Krill Rosemary Troy 1950-, eds. Early American decorative arts, 1620-1860: A handbook for interpreters. AltaMira Press, 2001.

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Krill, Rosemary Troy. Early American decorative arts, 1620-1860: A handbook for interpreters. AltaMira Press, 2010.

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J, Hefner Robert, Klaffky Susan E, and Society for the Preservation of Long Island Antiquities., eds. Long Island is my nation: The decorative arts & craftsmen: 1640-1830. 2nd ed. The Society, 1998.

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Books, Time-Life, ed. The Needle arts: A social history of American needlework. Time-Life Books, 1990.

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Museum, St Louis Art, ed. Useful beauty: Early American decorative arts from St. Louis collections : the Saint Louis Art Museum, June 19-August 15, 1999. The Museum, 1999.

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1940-, Bivins John, and Alexander Forsyth 1960-, eds. The regional arts of the early South: A sampling from the collection of the Museum of Early Southern Decorative Arts. The Museum, 1991.

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Kauffman, Henry J. Early American copper, tin & brass: Hand-crafted metalware from colonial times. Astragal Press, 1995.

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Museum of Early Southern Decorative Arts., ed. Guide to the index of early southern artists and artisans. Clearwater Pub. Co., 1985.

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Johnson, Bruce E. The official identification and price guide to arts and crafts: The early modernist movement in American decorative arts, 1894-1923. House of Collectibles, 1988.

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R, Kylloe Ralph, and Scottish Rite Masonic Museum of Our National Heritage., eds. Rustic furniture: [an exhibition organized in cooperation with Ralph Kylloe] July, 23, 1989-January 14, 1990, Museum of Our National Heritage. Scottish Rite Masonic Museum and Library, 1989.

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Book chapters on the topic "Decorative arts, Early American"

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Peterson, William. "The Master of the Form." In Asian Self-Representation at World’s Fairs. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch02.

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By the early 20th century, Japan was the master of the international exhibition format. With over fifty years of experience at world’s fairs in the West, Japan knew how to market its culture and products in a manner appealing to the Western consumer of both high art and decorative objects. The 1915 Panama Pacific International Exposition provided the country with a unique opportunity to create a strong and lasting imprint on American bodies in the country pavilion site with its famed gardens and exotic, kimono-clad women. As the epicenter of Asian migration, San Francisco also offered unique opportunities to further the power of Japonisme in the arts, while politicians in both countries used the event to champion Japanese-American relations.
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"CHAPTER FOURTEEN ‘Introduction to Islamic Art’, ‘The Ayubs and Early Mamluks’ and ‘Iranian Art’." In Studies in Islamic Painting, Epigraphy and Decorative Arts. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474474825-016.

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Witchard, Anne. "Introduction: ‘the lucid atmosphere of fine Cathay’." In British Modernism and Chinoiserie. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748690954.003.0001.

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The introduction maps out the place of chinoiserie in the upheavals of early-twentieth century artistic consciousness. As the basic tenets of Realism became increasingly challenged by Modernist questioning, chinoiserie ‘absurdities’ offered the Modernist artist escape from Realism’s transcriptively referential constraints. The term has historically been confined to the decorative arts and critically overlooked as a somewhat moribund style. As a consequence, the continuities between chinoiserie and its role in Modernist ways of looking or seeing have been paid little attention. The introduction will suggest a new theoretical attention to chinoiserie as crucial to the re-visioning of the Modernist eye.
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Canavan, Claire, and Helen Smith. "‘The needle may convert more than the pen’: women and the work of conversion in early modern England." In Conversions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719099151.003.0006.

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This chapter opens by establishing women's centrality to the religious life of the household and community, and, in particular, their work as model converts and proselytisers. It argues that women’s devotion was neither inherently private nor inherently concerned with questions of selfhood or personal transformation. Drawing on the Queer Phenomenology of Sara Ahmed, the chapter suggests the extent to which conversion functions as a re-orientation and change in direction. The second half of the chapter takes women’s biblical needlework as a case study in material culture as an instrument of orientation. Considering a group of manuscript poems alongside the evidence of inventories and surviving stitchcraft, the authors argue for the evangelical and devotional effects of women’s decorative arts, and suggest that scriptural and religious themes were not simply emblematic but intended to work upon and transform the viewer. For early modern readers and viewers, the needle was a doubly efficacious tool, able to prick not only fabric but the consciences of those who wielded it or meditated upon its products.
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Brückner, Martin. "Self-Made Spectacles." In Social Life of Maps in America, 1750-1860. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632605.003.0006.

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During the same period when American-made maps began to circulate in the public and private spheres, much of the impetus for recognizing maps as a form of spectacle was generated internally from within the maps’ signs, symbols, and inscriptions. Drawing on several hundred American maps, in particular wall maps, this chapter delineates design choices made by successive generations of commercial mapmakers who transformed maps into unique communication platforms intended for the simultaneous transmission of cartographic and noncartographic information. It shows that maps freely borrowed from a visual stock of signs, images, and graphic designs available in a media landscape that included small paintings, large street signs, and the decorative arts. Contending that American mapmakers constructed large and small maps by tapping a common visual literacy, this chapter offers a comprehensive morphology of American map designs, in the course of which it demonstrates a compositional logic linking maps as unique media platforms to nascent expectations about image legibility and commercial visual culture.
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Ratner-Rosenhagen, Jennifer. "8. Against universalism." In American Intellectual History: A Very Short Introduction. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780190622435.003.0009.

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‘Against universalism’ explores the myriad challenges to universalism—in philosophy, social and political theory, and the arts—during the late twentieth century. It opens with a new view of 1960s radicalism, showing how its various quests for liberation radiated out into all arenas of American thought. Thomas Kuhn’s The Structure of Scientific Revolutions (1962) helped pave the way for the fire and fury of postmodernism, though many of the antiessentialist ideas of postmodernism were already present in early twentieth-century was rooting in dramatic transformations of thought. The 1980s and 1990s gave rise to identity politics and the culture wars, further challenging the notion of unified American ideals and identity.
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McClanahan, Barbara J., and Maribeth Nottingham. "The Role of Graphic Novels in K-12 Classrooms." In Advances in Early Childhood and K-12 Education. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4721-2.ch006.

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This chapter provides a brief introduction to the history of graphic novels in American schools, followed by a review of the literature regarding past graphic novel use. The authors then turn their attention to the real possibilities for use in schools in several major categories as described by current researchers, specifically in English language arts, math, social studies, science, and internet research. The chapter closes with suggestions as to what must take place in order for teachers to integrate graphic novels more effectively in their classrooms and highlights research areas that need to be addressed to support them.
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Shulman, R. G. "Early Days of Biochemical NMR." In Biological NMR Spectroscopy. Oxford University Press, 1997. http://dx.doi.org/10.1093/oso/9780195094688.003.0008.

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It was my pleasure to participate in Oleg’s 65th birthday celebration and to reminisce about the early days of Biochemical NMR. Oleg was always there. I remember in the summer in the early 1960s sitting on lawn chairs at a Gordon Conference and discussing the need for a meeting on biochemical NMR. This was to convene those with common interests, and out of this grew the 1964 meeting in Boston, which was the first International Conference on Magnetic Resonance in Biological Systems. In organizing the 1964 meeting Oleg was stalwart, in charge of the local arrangements at the old mansion, home of the American Academy of Arts and Sciences. The venue was much appreciated by the more than 100 attendees, and the smooth arrangements and elegant, although somewhat dowdy locale, contributed to the sense, generated by the meeting, that the field had a coherent scientific core and a meaningful future. In the early days of the 1960s the field of magnetic resonance in biological systems, brought together biannually by the society, had a coherence that was nurtured by the society. In those days the NMR and ESR methods were much less developed than they soon became, so that any reasonably competent spectroscopist could understand all the methods employed. Additionally, because the earlier studies concentrated upon the better understood biological molecules or processes, the breadth of the applications did not baffle a slightly informed biochemist. The rapid advances in definite understanding were thrilling to practitioners in the field, and individual efforts were motivated by a sense that the field was going to grow. By that time NMR was firmly established as a quantitative method in chemistry, solid state physics, and other material sciences so that with the results in hand it was logical to extrapolate to a future in which magnetic resonance could be central to biological research. These high hopes, however, required considerable confidence in extrapolation, because the individual findings were sometimes slight when compared to the exciting cutting edges of biological research.
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Keller, Morton, and Phyllis Keller. "The Faculty of Arts and Sciences." In Making Harvard Modern. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195144574.003.0009.

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It was in his dealings with the Faculty of Arts and Sciences (FAS) that Conant’s attempt to create a more meritocratic Harvard met its severest test. Out of this often tumultuous relationship came one of Harvard’s most influential academic innovations: a system for the appointment of tenured faculty that became standard practice in American universities. Conant inherited a faculty that was not necessarily the nation’s best. Because of Lowell’s stress on undergraduate instruction, the number and proportion of tutors and instructors steadily increased during the 1920s. At the same time, many of the best known Harvard professors during the Lowell years—Charles Townsend “Copey” Copeland and LeBaron Russell Briggs of the English Department, Roger B. “Frisky” Merriman in History—were not world-class scholars but charismatic classroom performers. Harvard had only one Nobelist, Conant’s chemist father-inlaw, Theodore W. Richards, before 1934; Chicago had three. Nor did its social scientists compare to those at Chicago or Columbia. The rather small stable of Harvard’s scholarly stars included historian Frederick Jackson Turner and philosopher Alfred North Whitehead, whose major accomplishments, done elsewhere, were long behind them. Carnegie Corporation president Frederick Keppel reported the prevailing view in 1934: “Harvard is still princeps but no longer facile princeps; and the story is current that at one of America’s great universities [no doubt Chicago] it is considered the height of academic distinction to receive an invitation from Harvard and to decline it.” Conant warned early on that the growing appeal of other universities and Harvard’s standardized salary, teaching, and research scales made it “increasingly difficult to attract from other universities and research institutes the outstanding men whom we desire.” The dean of the Faculty of Arts and Sciences was English professor Kenneth Murdock. Though he resented Conant for having gotten the Harvard presidency, Murdock was “quite willing” to continue to be dean if Conant wanted him. Conant did not. He appointed the less assertive George D. Birkhoff (among his qualities were exceptional mathematical ability and a keen anti-Semitism), who stayed in the job until 1939, when he was succeeded by the even more unassertive historian William S. Ferguson. Weak deans meant that Conant was in effect his own dean, deeply engaged in curriculum, student recruitment, and above all the selection of faculty.
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Dahle-Huff, Kari. "Making Room for Race in Your Classroom Discourse." In Advances in Early Childhood and K-12 Education. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2971-3.ch014.

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This chapter explores how the author made room for discussions about race in their high school English Language Arts classroom and how the author's teaching became emotionally responsive as the author embarked upon an identity journey. The classroom discussions were the result of the author's students' lived experiences being reflected in the course readings and then a space being provided to unpack their meanings. The author's journey began with their early years in education and experiencing integration of Native Americans and White students in school. The author's identity journey embodied walking in two worlds but not being accepted in either; the author is both White and Native American. The author looks White but is an enrolled Northern Cheyenne woman. The author began her teaching career on the Northern Cheyenne Reservation as a long-term math substitute teacher at a high school. It was at this school that the author had many experiences unpacking race and learning how to implement emotionally responsive pedagogy.
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Reports on the topic "Decorative arts, Early American"

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O’Brien, Thomas, and Deanna Matsumoto. Mapping E-Commerce Locally and Beyond: CITT K12 Special Investigation Project. Mineta Transportation Institute, 2021. http://dx.doi.org/10.31979/mti.2021.2067.

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As all aspects of the American workplace become automated or digitally enhanced to some degree, K12 educators have an increasing responsibility to help their students acquire the technical skills necessary to organize and interpret information. Increasingly, this is done through Geographic Information Systems (GIS), especially in careers related to transportation and logistics. The Center for International Trade &amp; Transportation (CITT) at CSU Long Beach has developed this K12 Special Investigation Project to introduce ArcGIS StoryMaps, an engaging, accessible and sophisticated web-based GI
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