Bøker av Katherine Manthorne

Fidelia Bridges (1834-1923) painted pictures that critics praised for their ability to exude the fragrance of field flowers and glow with the plumage of birds. Raised in Salem and long residing in Connecticut, she maintained a studio in New York City, where she exhibited her art for over forty years at the National Academy, American Watercolor Society and other prestigious venues. Transforming flower painting from a domestic outlet for female amateurs to a marketable commodity for professionals, she never wavered in her conviction that women had the right to shape independent careers on their own terms. She delineated both cultivated flowers and clumps of weeds with an intensity of focus unmatched by any other artist of her era. Often, she combined plants with local birds to convey a sophisticated understanding of their environmental interaction that encouraged others to appreciate and conserve nature. She made an extended European tour in the 1860s and regular trips to Great Britain in later years but preferred home nature. Assembling a cross-section of her stunning oil paintings, watercolours, chromolithographs and illustrated volumes for the first time, and analysing them against letters, diaries and periodical reviews, Fidelia Bridges combines a recovery of the artist's biography with close readings of her artworks. Living an outwardly conventional life, she embraced the bicycle and later the automobile as vehicles of female liberation, cultivated her garden with the skill of a horticulturalist, and left a lasting pictorial legacy to be found in US public museums and private collections nationwide.

Recover the stories of long-overlooked American women who, at a time when women rarely worked outside the home, became commercial photographers and shaped the new, challenging medium. Covering two generations of photographers ranging from New York City to Californias mining districts, this study goes beyond a broad survey and explores individual careers through primary sources and new materials. Profiles of the photographers animate their careers by exploring how they began, the details of running their own studios, and their visual output. The featured photos vary in form -- daguerreotype, tintype, carte de visite, and more -- and subject, including Civil War portraits, postmortem photography, and landscape photography. This welcome resource fills in gaps in photographic, American, and women''s history and convincingly lays out the parallels between the growth of photography as an available medium and the late-19th-century women''s movement.

This book explores modern painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War II, when both the art world and the film industry changed substantially.