"In this book, Lynn Gamwell and Nancy Tomes explore the historical roots of Americans' understanding of madness today. Drawing on a rich array of sources, the authors interweave the perceptions of medical practitioners, the mentally ill and their families, and journalists, poets, novelists, and artists. As they trace successive ways of explaining madness and treating those judged insane, Gamwell and Tomes vividly depict the political and cultural dimensions of American attitudes toward mental illness." "Gamwell and Tomes observe telling differences in the ways in which patients of different genders, races, and classes have been diagnosed and treated. The authors demonstrate how definitions of madness figured in national debates over abolitionism, women's rights, and alternative medicine. Madness in America also considers how the boundaries between sanity and insanity have been repeatedly redrawn in such areas as sexual behavior and criminality."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei