American Neo-Classic Sculpture: The Marble Resurrection
Gerdts, William H.
New York: Viking Press, 1973
Jodi Kovach at www.artsci.wustl.edu: “Gerdts examines the phenomena of American neoclassical sculpture through the lives, works, and patronage of the American expatriate neoclassical sculptors in Rome. Hosmer is one of the major artists highlighted in this text.”
American Women Artists: 1830-1930
By Eleanor Tufts
With introductory essays by Gail Levin, Alessandra Comini and Wanda M. Corn
Washington D.C.: The National Museum of Women in the Arts, 1987.
Jodi Kovach in www.artsci.wustl.edu: “This exhibition catalog includes extensive entries for the four Hosmer pieces included in the exhibition: Clasped Hands of Elizabeth and Robert Browning, 1853, Puck, 1856, Zenobia in Chains, 1859, and Sleeping Faun, 1865”
At Home in the Studio: The Professionalization of Women Artists in America
By Laura R. Prieto
Cambridge, Mass. And London, England: Harvard University Press, 2001
Jodi Kovach in www.artsci.wustl.edu: “In her investigation of how American women artists in the nineteenth century built their professional careers, Prieto writes that artists such as Harriet Hosmer, “…used gendered ideology to position themselves as professionals who could fulfill the ideal purpose of art: to uplift and morally transform the viewer, a task for which it was thought their ‘moral’ female natures gave them an affinity.” (page 42) Prieto also explores how women artists such as Hosmer used “gendered ideologies” in building relationships with male patrons (in Hosmer’s case, the father-figure Wayman Crow), and in operating within female, familial-style networks to garner popular support for their work”.
Boston and Boston People in 1850
by Harriet Goodhue Hosmer
Publisher: Leopold Classic Library (October 20, 2015)
Expatriates and Professionals: The Careers in Italy of Nineteenth-Century American Women Writers and Artists
By Sara Foose Parrott
Ph.D. diss., The George Washington University, 1988
Jodi Kovach in www.artsci.wustl.edu: “Parrott examines the careers of twenty American women writers and artists (including Hosmer) born between 1810 and 1850 who lived in expatriation in Italy in order to advance their careers. In particular, she explores how these women capitalized on two imaginative structures, one of which “attributed special significance to women as improvisatrici, cultural interpreters and redeemers.” The other myth positioned American women as emblems of the American ingénue”.
Harriet Hosmer: A Cultural Biography
by Kate Culkin (Author)
Publisher: University of Massachusetts Press (October 27, 2010)
Harriet Hosmer – American Sculptor 1830-1908
By Dolly Sherwood
Harriet Hosmer: Letters and Memories
Edited by Cornelia Crow Carr
New York: Moffat Yard and Company, 1912
Jodi Kovach in www.artsci.wustl.edu: “This is an excellent primary source containing letters from Hosmer’s correspondence and biographical commentary by Cornelia Crow Carr. Most of the letters are written to either Cornelia Crow Carr, Hosmer’s friend and the daughter of Wayman Crow, or to Wayman Crow himself. Wayman Crow was one of the most prominent patrons of the arts in St. Louis in the mid-nineteenth century and was the founder of Washington University. He played a significant role in the development of Hosmer’s career as a sculptor by commissioning several of her most important works.”
Harriet Hosmer: Lost and Found, A Catalogue Raisonné
Patricia Cronin, with preface by Maura Reilly and an essay by William H. Gerdts
Charta Art Books, Milan 2009
Contemporary artist Patricia Cronin has created a catalogue raisonné of the works of American sculptor Harriet Hosmer (1830-1908). This catalogue combines Cronin’s hand painted images (watercolors) with art historical research to create a document that reveals the complexities of Hosmer’s career, reputation and legacy.
Marble Queens and Captives: Women in Nineteenth-Century American Sculpture
By Joy S.Kasson
New Haven and London: Yale University Press, 1990
Jodi Kovach in www.artsci.wustl.edu: “Kasson examines issues of gender and power in the public personae and artwork of nineteenth-century women sculptors. Chapter six, “The Problematics of Female Power: Zenobia” focuses on Hosmer and the dichotomy of power and victimization represented in her works of ideal and mythical women.”
The White Marmorean Flock
Cikovsky, Jr., Nicolai, Marie H. Morrison and Carol Ockman. With an introduction by William H. Gerdts
Jr. Vassar College Art Gallery, 1972
Jodi Kovach in www.artsci.wustl.edu: “This catalog accompanied an exhibition from April 4-30, 1972, of the work of nineteenth-century American women neoclassical sculptors. The title of the exhibition is taken from Henry James’s description of the group of American expatriate women artists in Rome in his book William Wetmore Story and his Friends, 1903”.
Waking Stone: Inventions on the Life of Harriet Hosmer (Arkansas Poetry Award)
Publisher: University of Arkansas Press (October 1, 2006)
NB! The fact that an artist is mentioned in Feminine Moments’ bibliography it is of course no guaranty that she will be lesbian, bisexual or queer tomorrow, nor that the authors of the above books are “out and proud” in their writings…