TY  - BOOK
AU  - Culkin,Kate
TI  - Harriet Hosmer: a cultural biography 
SN  - 9781613760154
AV  - NB237.H6 C85 2010eb
U1  - 730.92B 22
PY  - 2010///]
CY  - Amherst
PB  - University of Massachusetts Press
KW  - Hosmer, Harriet Goodhue,
KW  - Art and society
KW  - United States
KW  - History
KW  - 19th century
KW  - Expatriate sculptors
KW  - Italy
KW  - Rome
KW  - Biography
KW  - Women sculptors
KW  - Sculptors
KW  - Art et société
KW  - États-Unis
KW  - Histoire
KW  - 19e siècle
KW  - Sculpteurs expatriés
KW  - Italie
KW  - Biographies
KW  - Sculptrices
KW  - Sculpteurs
KW  - SOCIAL SCIENCE
KW  - General
KW  - bisacsh
KW  - fast
N1  - Includes bibliographical references and index; Introduction: A Woman of Her Time --; 1; "She Will Do Much for the Cause of Womanhood" --; 2; "The Conception of the Statue Is Masterly" --; 3; "Her Whole Soul Was Filled with Zenobia" --; 4; "It Will Be a Manly Work" --; 5; "Female Sculptors Have Ceased to Be a Novelty" --; 6; "Something Has Come into Our Love" --; 7; "The Isabella Road Has Been the Longest" --; 8; "One of the 'Old Guard' of Feminine Progress"
N2  - Harriet Hosmer (1830-1908) was celebrated as one of the country's most respected artists, credited with opening the field of sculpture to women and cited as a model of female ability and American refinement. In this biographical study, Kate Culkin explores Hosmer's life and work and places her in the context of a notable group of expatriate writers and artists who gathered in Rome in the mid-nineteenth century. In 1852 Hosmer moved from Boston to Rome, where she shared a house with actress Charlotte Cushman and soon formed close friendships with such prominent expatriates as Robert and Elizabeth Barrett Browning and fellow sculptors John Gibson, Emma Stebbins, and William Wetmore Story. References to Hosmer or characters inspired by her appear in the work of Nathaniel Hawthorne, Louisa May Alcott, and Kate Field among others. Culkin argues that Hosmer's success was made possible by her extensive network of supporters, including her famous friends, boosters of American gentility, and women's rights advocates. This unlikely coalition, along with her talent, ambition, and careful maintenance of her public profile, ultimately brought her great acclaim. Culkin also addresses Hosmer's critique of women's position in nineteenth-century culture through her sculpture, women's rights advocates' use of high art to promote their cause, the role Hosmer's relationships with women played in her life and success, and the complex position a female artist occupied within a country increasingly interested in proving its gentility. --
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ER  -