Magnolia and Skeeters, c.1885 by Agnes Fairchild Northrop (American, 1857–1953)

Portrait of a young lady, 1881

By Anna Lea Merritt

Feeding the Ducks, Mary Cassatt, circa 1895

Drypoint, etching, and aquatint with hand-colouring on paper 29.5 x 39.3 cm (11.61 x 15.47 in.)

William Merritt Chase (American, 1849-1916) • In the Studio • c. 1892

Winslow Homer (1836-1910) "The Cotton Pickers" (1876) Oil on canvas Realism Located in the Los Angeles County Museum of Art, Los Angeles, California, United States

Two actresses, from the Actresses series, issued by Kinney Brothers Tobacco Company, 1890

The famous anti-slavery token made by the Wedgewood pottery in 1787 entitled 'Am I not a Man and a Brother?' was popular among abolitionists in England. But it would be 1838 before a coin was struck for enslaved women's rights – 'Am I not a Woman and a Sister?' – and then it was made for the American Anti-Slavery Society and popular in America.

English elite women did not feel a sisterhood with women of a lower class or another race. Elite women called for political rights for their own class, not for anyone else. They even used the example of slavery to support their campaign – comparing their inequality to slavery.

"Normal Women: 900 Years of Making History" - Philippa Gregory

thinking about how mishandled the herb brides are because like. The Text tells us they're not sexual beings (P1 mentions them being virgins, engaged to the Earth, and not to be touched even by their husbands, almost, for a lack of a better word and to conjure an image more than anything, priestess-types) and that their dances are nonsexual and sacred (all all true and correct) WHILE. giving them detailed / 3D modeled nipples. topless. clothes very conveniently torn [in ways that would be unrealistic for actual dancing like in the fucking moshpit]. all pretty thin hairless white-passing blemishless 20-something women. being already sexualized as white-passing asian women, but if they looked more like other NPC models/members of the Kin like the Kayura models (which to me would make more sense because they are never mentioned to be mixed in the way Artemy, an indigenous man who's blonde blue eyes due to being mixed, is [while still very much being indigenous and it being a central part of his story]), it would be even more obvious and would steer even more into Very Blatant fetishization of asian women. and then one asks, are they white-passing because they're sexualized? are they sexualized because they're white-passing? was it an admission of guilt to not make them look like Kayura model, because it would be too obvious then? or is it an admission of lust for women more white-passing? is it about beauty in the eye of the beholder?

then there's bewildering and dehumanizing lore of members of the Kin being non-humans, through the existence of the Worms (literally half-soil), them being a (more or less literal) hivemind, and that being "less human"/closer to the earth (nice_dichotomy_what_lies_outside_of_it png but also... the game touches on that...) immunizes them to the Earth's disease... and yet the Brides look like women... pretty thin hairless white-passing blemishless 20-something women who someone found wise to give 3d modeled nipples to, still good for the ritual cutting... do you hear how i'm going mad yet...

edit to add because while i was so mad and it WAS in my mind i just didn't have the strength to add it when i first wrote:

and they're bought and traded between the odonghs they pair with (again, closer to cattle or things) ... ladies there's so much. there's too much.

Wrexie Leonard

1867-1937, American astronomer best known for her work assisting Percival Lowell in his work researching Mars and Venus. As far as I can tell "Wrexie" wasn't short for anything.

Officers' cookhouse, Fort Pickering, Salem Harbor, Massachusetts, 1864. USAHEC.

Women's History Month

Alice Barber Stephens (American, 1858-1932) • Ladies Home Journal Cover • February, 1897

Untitled, Fidelia Bridges, 1876

Watercolor on paper 13 ⅞ x 9 ⅞ in. (35.2 x 25.2 cm) Smithsonian American Art Museum, Washington, DC, USA

Untitled, c.1890 by Sallie Van Horn

Ellen Bernard Thompson Pyle (1876-1936) "The Immigrants" (1899) Oil on canvas Located in the Brandywine River Museum of Art, Chadds Ford, Pennsylvania, United States This painting was created for Paul Leicester Ford’s novel "Janice Meredith: A Story of the Revolution," an historical romance novel set during the American Revolution.

Fashionable African American women in the 19tj Century

Mothers and their children in the illustrations of Jessie Willcox Smith (1863-1935)