By Amelia Peck, Carol Irish, N. Y.) Metropolitan Museum of Art (New York
Artistically, Wheeler had began via taking as her version the accomplishments of complex British designers corresponding to William Morris and Walter Crane. during her profession she absorbed components of jap layout and constructed a cosmopolitan American cloth kind during which the typical different types of local vegetation have been interpreted as free-flowing designs. relocating clear of the opulent works of early commissions, she took up the problem of manufacturing materials that weren't in simple terms appealing but additionally reasonable and functional to be used in middle-class houses. to complete this she explored strange weaving and printing strategies, and sometimes invented new ones.
Appointed director of layout for the Woman's construction of the 1893 World's Columbian Exposition in Chicago, Wheeler helped determine an incredible, seen position for ladies within the arts. during her existence she additionally wrote influential books on adorning and cofounded a summer season artists' colony. the tale of this strong-willed, proficient woman's occupation is usually a revealing social historical past and a view of the transformation of yankee flavor because the kingdom grew more and more convinced and cosmopolitan.
This booklet, which accompanies an exhibition held on the Metropolitan Museum of paintings, features a biographical essay and a listing of approximately 100 designs for textiles, wallpaper, and different inside furniture via Wheeler and her associates. [This booklet was once initially released in 2001 and has long gone out of print. This variation is a print-on-demand model of the unique book.]
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Extra info for Candace Wheeler: The Art and Enterprise of American Design, 1875-1900
So his repertoire of sources for the description of Judaism in the age of the Tannaim is awry. , even when said sources derive from a much later or a much earlier time. What generates this error is the problem of dealing with a category asymmetrical to the evidence. That is, an essentially philosophical-theological construct, an ism, Judaism, is imposed upon wildly diverse evidence deriving from many kinds of social groups and testifying to the state of mind and way of life of many sorts of Jews, who in their own day would scarcely have understood one another (for instance, Bar Kokhba and Josephus, or the Teacher of Righteousness and Aqiba).
And it is not historical in any conventional sense. Urbachs selection of sources for analysis is both narrowly canonical and somewhat confusing. H. Charles (and vastly expanded in the modern edition organized and edited by James Charlesworth) as the apocrypha and pseudepigrapha of the Old Testament, and the like. If we seek to describe the talmudic rabbis, surely we cannot ask Philo to testify to their opinions. If we listen to Philo, surely we ought to hearat least for the purpose of comparison and contrastfrom books written by Palestinian Jews of various kinds.
38:10; Jonah 2:7; Ps. 36 Beyond the collection of terms such as these are the cases in which afterlife is explicitly expressed. The late book of Daniel speaks of those who sleep in the dust who will wake (12:2). Centuries earlier, Isaiah speaks of the dead awaking and living, using similar language to that of Daniel, as well as referring to the repaîm (Is. 26:19). And a century earlier than that, 1 Sam.
Candace Wheeler: The Art and Enterprise of American Design, 1875-1900 by Amelia Peck, Carol Irish, N. Y.) Metropolitan Museum of Art (New York