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#20th c american
dostoyevsky-official · 3 months
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starting short with Harlem by Langston Hughes. i really love the cadence of it
What happens to a dream deferred?
       Does it dry up        like a raisin in the sun?        Or fester like a sore—        And then run?        Does it stink like rotten meat?        Or crust and sugar over—        like a syrupy sweet?
       Maybe it just sags        like a heavy load.
       Or does it explode?
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thefearofcod · 7 months
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“Lattimore is the best translation of the Iliad” buddy he’s not gonna fuck you, and with that attitude neither will anyone else
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petalpetal · 1 year
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Artist I Like Series 
N. C. Wyeth 1882 - 1945 an American painter and illustrator, and is America's most well-known illustrators. Wyeth created more than 3,000 paintings and illustrated 112 books including his masterpiece Treasure Island which later on became the art style inspiration for the Disney movie Treasure Planet.
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~ Paul C. Stahr, "Retouching an Old Masterpiece" (1915)
via the san francisco chronicle
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arthistoryanimalia · 1 year
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For #NationalPigDay check out this cute happy face! 🐖😄
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Clement C. Giorgi (American, 1911–1974), Pig, 1951, ceramic, Cleveland Museum of Art.
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mqfx · 1 year
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mqfx pride and prejudice AU but mu qing is mr. darcy and feng xin is lizzie bennett
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frogteethblogteeth · 2 months
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National Convention of Madam C. J. Walker's Agents badge, 1917
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noxaeternaetc · 3 months
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N.C. Wyeth (1882-1945) Old Kris Kringle, 1925.
'The annual, climactic orgy of imagination in the Wyeth household was Christmas, the culmination of NC's campaign to trace "a fascinating mystic pattern on the minds of the children." The excitement, the exhilarating terror of the supernatural brought to life, was almost traumatic, "Magic!" Wyeth says. "It's what makes things sublime. It's the difference between a picture that is profound art and just a painting of an object."'
Source: Richard Meryman, Andrew Wyeth: A Secret Life, Harper Collins, 1996.
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dead-ghost-walking · 8 months
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Okay I know my own eating habits are Not Great but this is presented as like, starvation and reading it I'm looking around awkwardly like yeah but that's protein AND fat, that's a whole meal...
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saltcherry · 6 months
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one thing that tripped me out when I learned it was that the "monophonic" prayer mode where the cantor chants, then the congregation chants back, was a legal imposition of German norms on synagogues in the early nineteenth century that has simply become a normal part of siddurim and a default mode in a lot of congregations in the US as a legacy of that legal requirement. for some reason this was shocking and surprising to me in a way that e.g. learning that the seal of david was not a universal Jewish symbol until very recently. I think it's because I find liturgy very important and compelling and studying it is always a revelation because I understand so little about music.
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brouillxrd · 8 months
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Undiscovered Genius of the Mississippi Delta – Basquiat – 1983
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girlcaravaggio-a · 2 years
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Story For A Saint From My Town II, Pedro Pablo Oliva (1982)
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mybeingthere · 1 year
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1. Late 1800's hooked rug!
2. American Hooked Rug, c 1900, Cat and Floral Urns.
3. American hooked rug with a lion, early 20th c., 26'' x 40 1/2''.
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pagansphinx · 7 months
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Subway Riders in New York City • 1914 • New York Public Library
Francis Luis Mora (Uruguayan-American, 1874-1940) Mora worked in watercolor, oils and tempera. He produced drawings in pen and ink, and graphite; and etchings and monotypes. He is known for his paintings and drawings depicting American life in the early 20th century; Spanish life and society; historical and allegorical subjects; with murals, easel painting and illustrations. He also was a popular art instructor.
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Flowers of the field • 1913 • Metropolitan Museum of Art, New York City
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Jeanne Cartier • c. 1916 • Yale University Art Gallery - New Haven, Connecticut
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Mrs. F. Luis Mora and Her Sister • 1902 • Metropolitan Museum of Art, New York City
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Las Manolas (Models in Sevilla) • c. 1909 • Private collection
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Spanish Color Fantasy • n/d • Private collection
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focsle · 6 months
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have you written anything about tattoos? is that relevant? don't know how your niche lines up with generic "sailor" tradition, but wikipedia simply says on knuckle tats that deckhands may get "HOLD / FAST" as a charm to support their grip on rigging, and i thought that was kind of cute.
I haven't written anything myself, mostly cos if you throw a stick out in the internet you'll find any number of articles about the symbolism of sailor tattoos, like hold fast and pigs and roosters and swallows and all that!
In my narrow window (the middle decades of the 19th century), I don't see tattoos mentioned all too often, compared to late 19th and throughout the 20th century where they became more common. For instance, this register of seaman's protection certificates (which are admittedly limited in the scope of things, since they're only from a few specific ports) from 1796-1871 rarely list tattoos as distinguishing marks, beyond the odd mention of being marked with an inked anchor, eagle, or letters here or there. Here's a neat jstor article (if you have any more of your 100 free monthly articles to read with a google account) that goes into late 18th-early 19th c tattoos that has some tables and visuals. The research was also done using seaman's protection certificates, with the following stat:
"The SPC-A records start in 1796 and include tattooed men born as early as 1746. There were 979 tattooed men out of a total of 9,772 men whose records survive from 1796 through 1818.26 These men were marked with a total of about 2,354 separate designs."
So, not a large number, but also 10% isn't insignificant. The protection certificates while a reliable source, also only describe the man in one specific moment. I'm sure a few of those men who just have their moles and scars and crooked fingers listed eventually picked up a tattoo or two in their time. Most journal keepers perhaps didn't think it important to mention who had tattoos or what of, though the typical motifs of anchors, nautical stars, girls, religious & patriotic imagery, etc. were certainly a part of the visual language at this point. Whaler William Abbe who sailed in the 1850s, devoted considerable attention to describing the physical appearance of some of his shipmates. In one instance, he wrote about the tattoos of one 'Johnny Come Lately' or 'Jack Marlinspike' (Real name, John Hewes of Buffalo NY)
'from beneath this cap his face looms out - while beneath supporting his comical head is a bare neck and breast — hairy + brown —the upper timbers to a stout hull of a boat that boast a pair of arms all covered with India ink tattooings — the figure of American Liberty — Christ on the cross — an American Tar holding a star spangled banner in one hand + a coil of rope in the other — a fancy girl — + anchors, rings, crosses, knots, stars all over his wrists + hands — the memorials of different ports he has visited — for Jack has been in all kinds of vessels from a man of war to a blubber hunter — + has consequently been to many ports.'
From the logbook of another whaler who sailed in the early 1840s, James Moore Ritchie, he had a page of his drawings with prices included. This potentially may have been a tattoo flash sheet for his shipmates:
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American whalers also noted the tattoos of indigenous people who had signed on to whaling vessels, particularly in the South Pacific. William B. Whitecar, whaling in the 1850s wrote: "Several New Zealanders in the respective crews of these vessels attracted my attention from the tattooing on their bodies" making mention of "figures on their face and breast".
I'm too sleepy to have a conclusion lol. Tattoos! They existed! Though perhaps not as ubiquitously as the pop culture sailor designs would imply, at least prior to the late 19th c.
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cogitoergofun · 10 months
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As you have probably seen by now, Gov. Ron DeSantis of Florida has signed another bill that limits classroom instruction on racism and racial inequality. This one applies to colleges and universities, banning so-called divisive concepts from general education courses. I mentioned all this in my Friday column, tying it to the broader Republican effort to give public institutions the freedom to censor.
As it happens, I’m reading the historian Donald Yacovone’s most recent book, “Teaching White Supremacy: America’s Democratic Ordeal and the Forging of Our National Identity,” on the relationship between history education and the construction of white supremacist ideologies in the 19th and 20th centuries. It’s an interesting book, filled with compelling information about the racism that has shaped the teaching of American history. But I mention it here because, in one section on Southern textbook writers and the demand for pro-slavery pedagogy, Yacovone relays a voice that might sound awfully familiar to modern ears.
As Yacovone explains, pre-Civil War textbook production was dominated by writers from New England. Some Southerners had, by the 1850s, become “increasingly frustrated with the ‘Yankee-centric’ quality of the historical narratives.” They wanted texts “specifically designed for Southern students and readers.” In particular, Southern critics wanted textbooks that gave what they considered a fair and favorable view to the “subject of the weightiest import to us of the South … I mean the institution of Negro slavery,” as one critic put it.
Part of the reason for Southern elite frustration, and the reason they wanted history textbooks tailored to their views, was the rise of pro-slavery ideology among slaveholders whose lives and livelihoods were tied to the institution. It helped as well that slavery had become (against the expectations of many Americans, including the nation’s founders) incredibly lucrative in the first decades of the 19th century. By the time Yacovone begins his narrative, Southern slaveholders had moved from the regretful acceptance of slavery that characterized earlier generations of slaveholding elites to an embrace of slavery as a “positive good” — in John C. Calhoun’s infamous words — and the only basis on which to build a functional and prosperous society.
It was in this context that J.W. Morgan, a Virginian contributor to the Southern journal De Bow’s Review, excoriated Northern history textbooks and called for censorship of anything that hinted of antislavery belief. Here’s Yacovone summarizing Morgan’s argument:
Books that did not praise the “doctrines” that “we now believe” should be banned and never come “within the range of juvenile reading.” Morgan damned current textbooks as flying the “black piratical ensign of abolitionism.” Continued use of such works would only corrupt the minds of youth and “spread dangerous heresies among us.” Even spelling books could not be trusted, as they contained covert condemnations of “our peculiar institutions.”
What I find striking about this is not just that it is a prime example of the hostility to free expression that marked the slaveholding South — Southern elites instituted gag rules in Congress and prevented the circulation of antislavery materials through the mail in their states — but that Morgan is as concerned with the effect of abolitionist arguments on the “minds of youth” as he is with their effect on enslaved Americans themselves.
It was vital, to Morgan, that the slaveholding South reproduce its beliefs and ideologies in the next generation. Education was the tool, and anything that emphasized the equality of all people and challenged existing hierarchies as unnatural and unjust was the threat.
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