Featured Items
Today Renaissance-era prints are typically preserved behind glass or in solander boxes in museums, but these decorative objects were once a central part of everyday life. Altered and Adorned is a delightful, surprising look at how prints were used: affixed on walls; glued into albums, books, and boxes; annotated; hand-colored; or cut apart.
This handsome volume introduces readers to the experimental world of printmaking in the mid-15th and 16th centuries and the array of objects it inspired, from illustrated books, sewing patterns, and wearable ornaments to printed sundials and anatomical charts. It features many never-before-published treasures from the Art Institute of Chicago's rich permanent collection, along with essays on the ways prints functioned--in some cases as three-dimensional and interactive works--and how their condition communicates their use.
The first and only successful slave revolution in the Americas began in 1791 when thousands of brutally exploited slaves rose up against their masters on Saint-Domingue, the most profitable colony in the eighteenth-century Atlantic world. Within a few years, the slave insurgents forced the French administrators of the colony to emancipate them, a decision ratified by revolutionary Paris in 1794. This victory was a stunning challenge to the order of master/slave relations throughout the Americas, including the southern United States, reinforcing the most fervent hopes of slaves and the worst fears of masters.
But, peace eluded Saint-Domingue as British and Spanish forces attacked the colony. A charismatic ex-slave named Toussaint Louverture came to France's aid, raising armies of others like himself and defeating the invaders. Ultimately Napoleon, fearing the enormous political power of Toussaint, sent a massive mission to crush him and subjugate the ex-slaves. After many battles, a decisive victory over the French secured the birth of Haiti and the permanent abolition of slavery from the land. The independence of Haiti reshaped the Atlantic world by leading to the French sale of Louisiana to the United States and the expansion of the Cuban sugar economy.
Laurent Dubois weaves the stories of slaves, free people of African descent, wealthy whites, and French administrators into an unforgettable tale of insurrection, war, heroism, and victory. He establishes the Haitian Revolution as a foundational moment in the history of democracy and human rights.
Calligraphic Drawing, written and illustrated by artist Schin Loong, is a step-by-step guide to the pictorial side of calligraphy. Learn how to make calligraphic flourishes, then apply the technique to draw 15 different flourished animals. You'll also find instructions for embellishing letters and drawing ornamental cartouches.
In the past, masters of penmanship advertised their copperplate skills by shaping their calligraphy and flourishes into elaborate pictorial designs. Now the art of the flourish is back! With her fresh approach to this age-old art form, Schin will take you confidently through each step, from choosing your pen, nib, and ink, to creating calligraphic animals that express your own imagination and artistry. The basic steps for the strokes are simple, but as you learn each new pattern and stroke, you'll watch your drawings develop into ever more complex and beautiful compositions.
By following the step-by-step instructions, you can create stunning drawings of a pigeon, swan, crane, rooster, jellyfish, goldfish, peacock, parrot, owl, raccoon, elephant, puppy, rabbit, fox, and zebra. Each exercise includes a photo of the animal, followed by an illustration and written guidance for each numbered step. You'll find helpful tips and encouragement throughout. At the back, a gallery showcase provides examples of Schin's own artwork to inspire you in your own flourishing pursuits.
Whether you're a designer, calligrapher, doodler, or just picked up a pen, this guide to drawing with flourishes will enlighten and inspire.
A fascinating history of Chicago's innovative and invaluable contributions to American literature and art from the late nineteenth to the mid-twentieth century This remarkable cultural history celebrates the great Midwestern city of Chicago for its centrality to the modernist movement. Author Liesl Olson traces Chicago's cultural development from the 1893 World's Fair through mid-century, illuminating how Chicago writers revolutionized literary forms during the first half of the twentieth century, a period of sweeping aesthetic transformations all over the world. From Harriet Monroe, Carl Sandburg, and Ernest Hemingway to Richard Wright and Gwendolyn Brooks, Olson's enthralling study bridges the gap between two distinct and equally vital Chicago-based artistic "renaissance" moments: the primarily white renaissance of the early teens, and the creative ferment of Bronzeville. Stories of the famous and iconoclastic are interwoven with accounts of lesser-known yet influential figures in Chicago, many of whom were women. Olson argues for the importance of Chicago's editors, bookstore owners, tastemakers, and ordinary citizens who helped nurture Chicago's unique culture of artistic experimentation. Cover art by Lincoln Schatz
In recent years Latin American indigenous groups have regularly deployed the discourse of human rights to legitimate their positions and pursue their goals. Perhaps nowhere is this more evident than in the Maya region of Chiapas and Guatemala, where in the last two decades indigenous social movements have been engaged in ongoing negotiations with the state, and the presence of multinational actors has brought human rights to increased prominence. In this volume, scholars and activists examine the role of human rights in the ways that states relate to their populations, analyze conceptualizations and appropriations of human rights by Mayans in specific localities, and explore the relationship between the individualist and "universal" tenets of Western-derived concepts of human rights and various Mayan cultural understandings and political subjectivities
The collection includes a reflection on the effects of truth-finding and documenting particular human rights abuses, a look at how Catholic social teaching validates the human rights claims advanced by indigenous members of a diocese in Chiapas, and several analyses of the limitations of human rights frameworks. A Mayan intellectual seeks to bring Mayan culture into dialogue with western feminist notions of women's rights, while another contributor critiques the translation of the United Nations Declaration of Human Rights into Tzeltal, an indigenous language in Chiapas. Taken together, the essays reveal a broad array of rights-related practices and interpretations among the Mayan population, demonstrating that global-local-state interactions are complex and diverse even within a geographically limited area. So too are the goals of indigenous groups, which vary from social reconstruction and healing following years of violence to the creation of an indigenous autonomy that challenges the tenets of neoliberalism.
Contributors: Robert M. Carmack, Stener Ekern, Christine Kovic, Xochitl Leyva Solano, Julián López García, Irma Otzoy, Pedro Pitarch, Álvaro Reyes, Victoria Sanford, Rachel Sieder, Shannon Speed, Rodolfo Stavenhagen, David Stoll, Richard Ashby Wilson
Developed by English handwriting masters in the 18th century, copperplate calligraphy is admired for its fluidity and beauty. It is the most popular style for social correspondence, invitations, and other communications requiring an elegant hand.
In this practical manual, a noted calligraphy teacher offers a comprehensive, step-by-step guide for the student. Beginning with a brief but fascinating history of copperplate, she moves quickly to an in-depth examination of the alphabet, numbers, and punctuation. Each letter is demonstrated stroke by stroke with a clear explanation.
Readers will also find detailed discussions of writing in color, using the proper paper, and learning how to retouch, correct, and crop. Ms. Winters then shows how copperplate can be used to write a simple paragraph, a short quotation, or poetry, and explains how to use the script commercially for addressing envelopes and writing name cards and invitations. With this easy-to-follow manual and some practice, calligraphers will be able to create copperplate scripts with the rhythm, grace, and ease of the great writing masters.
This comprehensive history and instruction manual contains, in one volume, thirteen significant medieval scripts, with a history of the evolution of the alphabets, and fascinating background material on the scribes, their world, and how writing styles changed over a thousand years. Moreover, it is the only modern book that provides clearly described, brilliantly photographed, and accurately reproduced examples of both major and minor hands along with explicit directions for writing them.
The author -- a professional calligrapher of medieval styles, as well as illuminator, writer, and teacher -- presents a spirited historical account of thirteen important writing styles developed from about the fourth century to the end of the fifteenth. These include Roman Rustic, Uncial, Carolingian Minuscule, Early Gothic, Luxeuil Minuscule, Gothic Littera Bastarda, and seven other distinctive hands. The text explains how and why different styles evolved, why certain devices, codes, and abbreviations were used, and how form and function interacted.
In addition to fascinating facts about the origin and development of medieval scripts, Medieval Calligraphy also shows you how to duplicate medieval techniques with modern writing tools. Thorough instructions and sharply detailed, full-page photographs of the original alphabets explain pen angles and stroke sequences for each letter and capital. By carefully studying and practicing the techniques described, calligraphers will be able to master some of history's most interesting and influential scripts. Mr. Drogin has rounded out the book with helpful lists of suppliers of tools and materials, American and European sources for facsimiles and books, calligraphic societies, a bibliography, index, and more.
"The law of harmony in flourishing is the same as in love. As long as everything goes along smoothly, harmony prevails. But as soon as some rival crosses the pathway, especially in a diagonal way, there is likely to be trouble in camp. Therefore see that the lines run nearly parallel or cross nearly at right angles."
With the charm of words like these, this pleasantly old-fashioned manual inculcates a fine art that has been virtually lost: the art of ornate pictorial calligraphy, or flourishing.
A good pen, this book, and practice are all you need to create your own magnificent swirls, delicately shaded curves, harmoniously crisscrossing lines, from which birds, rabbits, deer, ribbons, and other images gracefully emerge. Complete instructions lead you from proper positioning and basic exercises to finished flourishes of increasing complexity.
Frequent helpful hints encourage calligraphers to cultivate grace, harmony, and symmetry by means of diligence, patience, and perseverance. The approach is quaintly traditional, the results delightful. Over 150 lovely examples of flourishes form in themselves a wonderful collection of ornate pictorial calligraphy.
With this unique manual and ample practice, you will help keep alive a glorious decorative art. As this book belongs to the Dover Pictorial Archive series, its royalty-free illustrations may also be applied to a multitude of graphic arts and design purposes.
Nella Larsen's powerful, thrilling, and tragic tale about the fluidity of racial identity that continues to resonate today. A New York Times Editors' Choice. Now a major motion picture starring Tessa Thompson and Alexander Skarsgård Clare Kendry is living on the edge. Light-skinned, elegant, and ambitious, she is married to a racist white man unaware of her African American heritage, and has severed all ties to her past after deciding to "pass" as a white woman. Clare's childhood friend, Irene Redfield, just as light-skinned, has chosen to remain within the African American community, and is simultaneously allured and repelled by Clare's risky decision to engage in racial masquerade for personal and societal gain. After frequenting African American-centric gatherings together in Harlem, Clare's interest in Irene turns into a homoerotic longing for Irene's black identity that she abandoned and can never embrace again, and she is forced to grapple with her decision to pass for white in a way that is both tragic and telling. This edition features a new introduction by Emily Bernard and notes by Thadious M. Davis. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.
This book is the first full-length study of the Nova Reperta (New Discoveries), a renowned series of prints designed by Johannes Stradanus during the late 1580s in Florence. Reproductions of the prints, essays, conversations from a scholarly symposium, and catalogue entries complement a Newberry Library exhibition that tells the story of the design, conception, and reception of Stradanus's engravings. Renaissance Invention: Stradanus's "Nova Reperta" seeks to understand why certain inventions or novelties were represented in the series and how that presentation reflected and fostered their adoption in the sixteenth century. What can Stradanus's prints tell us about invention and cross-cultural encounter in the Renaissance? What was considered "new" in the era? Who created change and technological innovation? Through images of group activities and interactions in workshops, Stradanus's prints emphasize the importance of collaboration in the creation of new things, dispelling traditional notions of individual genius. The series also dismisses the assumption that the revival of the wonders of the ancient world in Italy was the catalyst for transformation. In fact, the Latin captions on the prints explain how contemporary inventions surpass those of the ancients. Together, word and image foreground the global nature of invention and change in the early modern period even as they promote specifically Florentine interests and activities.
2018 James Beard Award Winner: Best American Cookbook
Named one of the Best Cookbooks of 2017 by NPR, The Village Voice, Smithsonian Magazine, UPROXX, New York Magazine, San Francisco Chronicle, Mpls. St. PaulMagazine and others Here is real food--our indigenous American fruits and vegetables, the wild and foraged ingredients, game and fish. Locally sourced, seasonal, "clean" ingredients and nose-to-tail cooking are nothing new to Sean Sherman, the Oglala Lakota chef and founder of The Sioux Chef. In his breakout book, The Sioux Chef's Indigenous Kitchen, Sherman shares his approach to creating boldly seasoned foods that are vibrant, healthful, at once elegant and easy.Sherman dispels outdated notions of Native American fare--no fry bread or Indian tacos here--and no European staples such as wheat flour, dairy products, sugar, and domestic pork and beef. The Sioux Chef's healthful plates embrace venison and rabbit, river and lake trout, duck and quail, wild turkey, blueberries, sage, sumac, timpsula or wild turnip, plums, purslane, and abundant wildflowers. Contemporary and authentic, his dishes feature cedar braised bison, griddled wild rice cakes, amaranth crackers with smoked white bean paste, three sisters salad, deviled duck eggs, smoked turkey soup, dried meats, roasted corn sorbet, and hazelnut-maple bites.
The Sioux Chef's Indigenous Kitchen is a rich education and a delectable introduction to modern indigenous cuisine of the Dakota and Minnesota territories, with a vision and approach to food that travels well beyond those borders.
This Is What Democracy Looked Like, the first illustrated history of printed ballot design, illuminates the noble but often flawed process at the heart of our democracy. An exploration and celebration of US ballots from the nineteenth and early twentieth centuries, this visual history reveals unregulated, outlandish, and, at times, absurd designs that reflect the explosive growth and changing face of the voting public. The ballots offer insight into a pivotal time in American history--a period of tectonic shifts in the electoral system--fraught with electoral fraud, disenfranchisement, scams, and skullduggery, as parties printed their own tickets and voters risked their lives going to the polls.
In this striking study of the pre-Civil War literary imagination, Karen Sánchez-Eppler charts how bodily difference came to be recognized as a central problem for both political and literary expression. Her readings of sentimental anti-slavery fiction, slave narratives, and the lyric poetry of Walt Whitman and Emily Dickinson demonstrate how these texts participated in producing a new model of personhood--one in which the racially distinct and physically constrained slave body converged alongside the sexually distinct and domestically circumscribed female body. Moving from the public domain of abolitionist politics to the privacy of lyric poetry, Sánchez-Eppler argues that attention to the physical body blurs the boundaries between public and private. Drawing analogies between black and female bodies, feminist-abolitionists use the public sphere of anti-slavery politics to write about sexual desires and anxieties they cannot voice directly. However, Sánchez-Eppler warns against exaggerating the positive links between literature and politics. She finds that the relationships between feminism and abolitionism reveal patterns of exploitation, appropriation, and displacement of the black body that acknowledge the difficulties in embracing "difference" in the nineteenth century as in the twentieth. Her insightful examination of these issues makes a distinctive mark within American literary and cultural studies. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.
In this striking study of the pre–Civil War literary imagination, Karen Sánchez-Eppler charts how bodily difference came to be recognized as a central problem for both political and literary expression. Her readings of sentimental anti-slavery fiction, slave narratives, and the lyric poetry of Walt Whitman and Emily Dickinson demonstrate how these texts participated in producing a new model of personhood—one in which the racially distinct and physically constrained slave body converged alongside the sexually distinct and domestically circumscribed female body.
Moving from the public domain of abolitionist politics to the privacy of lyric poetry, Sánchez-Eppler argues that attention to the physical body blurs the boundaries between public and private. Drawing analogies between black and female bodies, feminist-abolitionists use the public sphere of anti-slavery politics to write about sexual desires and anxieties they cannot voice directly. However, Sánchez-Eppler warns against exaggerating the positive links between literature and politics. She finds that the relationships between feminism and abolitionism reveal patterns of exploitation, appropriation, and displacement of the black body that acknowledge the difficulties in embracing “difference” in the nineteenth century as in the twentieth. Her insightful examination of these issues makes a distinctive mark within American literary and cultural studies.
This title is part of UC Press’s Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.
An epic history of African American women's pursuit of political power -- and how it transformed America.
In the standard story, the suffrage crusade began in Seneca Falls in 1848 and ended with the ratification of the Nineteenth Amendment in 1920. But this overwhelmingly white women's movement did not win the vote for most black women. Securing their rights required a movement of their own.
In Vanguard, acclaimed historian Martha S. Jones offers a new history of African American women's political lives in America. She recounts how they defied both racism and sexism to fight for the ballot, and how they wielded political power to secure the equality and dignity of all persons. From the earliest days of the republic to the passage of the 1965 Voting Rights Act and beyond, Jones excavates the lives and work of black women--Maria Stewart, Frances Ellen Watkins Harper, Fannie Lou Hamer, and more--who were the vanguard of women's rights, calling on America to realize its best ideals.
"A Native American rejoinder to Richard White and Jesse Amble White's California Exposures."--Kirkus Reviews
Rewriting the history of California as Indigenous. Before there was such a thing as "California," there were the People and the Land. Manifest Destiny, the Gold Rush, and settler colonial society drew maps, displaced Indigenous People, and reshaped the land, but they did not make California. Rather, the lives and legacies of the people native to the land shaped the creation of California. We Are the Land is the first and most comprehensive text of its kind, centering the long history of California around the lives and legacies of the Indigenous people who shaped it. Beginning with the ethnogenesis of California Indians, We Are the Land recounts the centrality of the Native presence from before European colonization through statehood--paying particularly close attention to the persistence and activism of California Indians in the late twentieth and early twenty-first centuries. The book deftly contextualizes the first encounters with Europeans, Spanish missions, Mexican secularization, the devastation of the Gold Rush and statehood, genocide, efforts to reclaim land, and the organization and activism for sovereignty that built today's casino economy. A text designed to fill the glaring need for an accessible overview of California Indian history, We Are the Land will be a core resource in a variety of classroom settings, as well as for casual readers and policymakers interested in a history that centers the native experience.