As early as 1889, one Boston art critic had reported that "there is nothing that men do that is not done by women now in Boston." The city of Boston saw perhaps the largest concentration of women artists in the country, and A Studio of Her Own tells the interwoven stories of 40 of them in the late nineteenth and early twentieth centuries. It explores their lives and work both individually and communally, taking particular note of the relationships they formed, which enabled many of them to excel. Along with individual portraits of the artists, the book includes discussions of such contextual issues as the importance of the Arts and Crafts movement, concerns of marriage, family and sexuality, and the role of the MFA School. A Studio of Her Own is the definitive work on an important moment in America's cultural and artistic history.
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Erica E. Hirshler is John Moors Cabot curator of American painting at the Museum of Fine Arts, Boston. She is the author of "Dennis Miller Bunker" and a contributor to "The Bostonians."From Library Journal:
Complementing a Boston Museum of Fine Arts exhibit of the same name, Hirshler's book chronicles the birth and evolution of women artists who trained or were centered in Boston. The John Moors Cabot curator of American painting at the Museum of Fine Arts, Hirshler found her niche rediscovering lesser-known artists with her previous work, Dennis Miller Bunker: American Impressionist. She hits her stride with this new study, providing a standard for regional treatments of women artists. The book not only surveys artists grouped together solely by gender or artistic medium but also establishes the intertwining and harmonious relationships among several Bostonian generations. In addition, the original research generates fresh interest in a largely forgotten or unknown aesthetic stratum of New England. Hirshler delves into challenges specific to female artists, thus marrying art history with social history and appealing to a wider audience. Abundant illustrations, artists' biographies, and extensive footnotes make this essential for academic libraries specializing in art history. Rebecca Tolley-Stokes, East Tennessee State Univ., Johnson City
Copyright 2001 Reed Business Information, Inc.
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Descripción MFA Publications, 2001. Hardcover. Estado de conservación: New. Excellent condition. New - publisher shrink wrapped. Nº de ref. de la librería B2LX-0878464824
Descripción Museum of Fine Arts Boston, Boston, Massachusetts, U.S.A., 2001. Hard Cover. Estado de conservación: New. Estado de la sobrecubierta: New. NEW in publisher's shrinkwrap. Size: 4to - over 9¾" - 12" tall. Nº de ref. de la librería 38360
Descripción Estado de conservación: New. Nº de ref. de la librería 23MA3O009PF2
Descripción MFA Publications. Hardcover. Estado de conservación: New. 0878464824 New Condition. Nº de ref. de la librería NEW7.0474368
Descripción MFA Publications, 2001. Hardcover. Estado de conservación: New. Never used!. Nº de ref. de la librería P110878464824
Descripción Museum of Fine Arts, Boston, 2001. Hardcover. Estado de conservación: New. Hardcover with dustjacket. New book. ART. Prepared to accompany the exhibit at Boston's Museum of Fine Art in 2001. "A Studio of Her Own: Women Artists in Boston 1870-1940," presented over eighty of the finest paintings, sculpture, and decorative arts created by women at the turn of the last century. Drawn equally from the MFA's holdings, other museums and institutions, and private collections, the exhibition included works by over forty artists. While some of them were well known, like Lilian Hale and Anna Vaughn Hyatt, many others remained uncelebrated. No matter the level of their fame, their art represents an aesthetic achievement of great significance and beauty. As one art critic reported in 1889, "there is nothing that men do that is not done by women now in Boston." The city was a conspicuous leader in the emergence of women professionals in all disciplines, including the fine arts. The cornerstone of an artistic education, drawing from life, was made available to local women in the 1850s and there soon formed a strong community of accomplished female artists. The first generation, including Ellen Day Hale, Elizabeth Boott Duveneck, Anne Whitney, and Sarah Wyman Whitman, studied in the 1860s with William Morris Hunt and William Rimmer, two of the city's leading artists. Hale and Duveneck continued their education is Paris, and both shared their experiences with their colleagues in Boston through the letters and articles they sent home. Whitney, a sculptor, and Whitman, a designer, each received important public commissions in the city. Their success, along with their involvement in such organizations as the Society of Arts and Crafts and the Copley Society, made them mentors for a younger generation of women artists trained at Boston's new art schools, including the School of the Museum of Fine Arts and the Massachusetts College of Art, both founded in the 1870s. Many of the city's best known artists were alumnae of those programs, including painter Lilian Hale, sculptor Katharine Lane Weems, and photographer and pastelist Sarah Choate Sears. As the critic William Howe Downes remarked in 1896, "every year we see these sisters of the brush and palette coming forward as doughty competitors to the men, and nowhere do they threaten more serious rivalry than in Boston." During the early twentieth century, these women earned national reputations as professional artists in a variety of media. Some chose a traditional academic style while others experimented with modernism, but no matter which aesthetic choices they made, each of them worked to balance their careers with the roles society expected them to play as daughters, wives, and mothers. "A Studio of Her Own: Women Artists in Boston 1870-1940" includes paintings, watercolors, pastels, drawings, photographs, miniatures, sculpture, stained glass, ceramics, book covers, and metalwork. The illustrated catalogue traces the history of women's contributions to the arts in Boston and explores women's choices of medium, subject matter, and domestic arrangements, comparing them to their male counterparts. The catalogue also serves as an important and lasting reference with artists' biographies. The organizer of this project is Erica E. Hirshler, Croll Senior Curator of Paintings, Art of the Americas at the Museum of Fine Arts. Dr. Hirshler has a special interest in art of the Boston area and in women artists, and she has written extensively on both subjects. (Key Words: Women Artists, Boston, Erica E. Hirshler, Boston Museum of Fine Art, Lilian Hale, Anna Vaughn Hyatt, Ellen Day Hale, Elizabeth Boott Duveneck, Anne Whitney, Sarah Wyman Whitman, Ellen Day Hale, Elizabeth Boott Duveneck, Anne Whitney, Sarah Wyman Whitman). book. Nº de ref. de la librería 87561X1