American Neo-Classic Sculpture: The Marble Resurrection
\nGerdts, William H.
\nNew York: Viking Press, 1973
\nJodi Kovach at www.artsci.wustl.edu: \u201cGerdts 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.\u201d<\/p>\n
American Women Artists: 1830-1930
\nBy Eleanor Tufts
\nWith introductory essays by Gail Levin, Alessandra Comini and Wanda M. Corn
\nWashington D.C.: The National Museum of Women in the Arts, 1987.
\nJodi Kovach in www.artsci.wustl.edu: \u201cThis 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\u201d<\/p>\n
At Home in the Studio: The Professionalization of Women Artists in America
\nBy Laura R. Prieto
\nCambridge, Mass. And London, England: Harvard University Press, 2001
\nJodi Kovach in www.artsci.wustl.edu: \u201cIn her investigation of how American women artists in the nineteenth century built their professional careers, Prieto writes that artists such as Harriet Hosmer, \u201c\u2026used 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 \u2018moral\u2019 female natures gave them an affinity.\u201d (page 42) Prieto also explores how women artists such as Hosmer used \u201cgendered ideologies\u201d in building relationships with male patrons (in Hosmer\u2019s case, the father-figure Wayman Crow), and in operating within female, familial-style networks to garner popular support for their work\u201d.<\/p>\n
Boston and Boston People in 1850
\nby Harriet Goodhue Hosmer
\nPublisher: Leopold Classic Library (October 20, 2015)
\nLanguage: English
\nASIN: B016W2YV68<\/p>\n
Expatriates and Professionals: The Careers in Italy of Nineteenth-Century American Women Writers and Artists
\nBy Sara Foose Parrott
\nPh.D. diss., The George Washington University, 1988
\nJodi Kovach in www.artsci.wustl.edu: \u201cParrott 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 \u201cattributed special significance to women as improvisatrici, cultural interpreters and redeemers.\u201d The other myth positioned American women as emblems of the American ing\u00e9nue\u201d.<\/p>\n
Harriet Hosmer: A Cultural Biography
\nby Kate Culkin (Author)
\nPublisher: University of Massachusetts Press (October 27, 2010)
\nLanguage: English
\nISBN-10: 1558498397
\nISBN-13: 978-1558498396<\/p>\n
Harriet Hosmer \u2013 American Sculptor 1830-1908
\nBy Dolly Sherwood
\n1991
\nISBN 0-8262-0766-9<\/p>\n
Harriet Hosmer: Letters and Memories
\nEdited by Cornelia Crow Carr
\nNew York: Moffat Yard and Company, 1912
\nJodi Kovach in www.artsci.wustl.edu: \u201cThis is an excellent primary source containing letters from Hosmer\u2019s correspondence and biographical commentary by Cornelia Crow Carr. Most of the letters are written to either Cornelia Crow Carr, Hosmer\u2019s 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\u2019s career as a sculptor by commissioning several of her most important works.\u201d<\/p>\n
Harriet Hosmer: Lost and Found, A Catalogue Raisonn\u00e9
\nPatricia Cronin, with preface by Maura Reilly and an essay by William H. Gerdts
\nCharta Art Books, Milan 2009
\nISBN 978-88-8158-732-2
\nContemporary artist Patricia Cronin has created a catalogue raisonn\u00e9 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\u2019s career, reputation and legacy.<\/p>\n
Marble Queens and Captives: Women in Nineteenth-Century American Sculpture
\nBy Joy S.Kasson
\nNew Haven and London: Yale University Press, 1990
\nJodi Kovach in www.artsci.wustl.edu: \u201cKasson examines issues of gender and power in the public personae and artwork of nineteenth-century women sculptors. Chapter six, \u201cThe Problematics of Female Power: Zenobia\u201d focuses on Hosmer and the dichotomy of power and victimization represented in her works of ideal and mythical women.\u201d<\/p>\n
The White Marmorean Flock
\nCikovsky, Jr., Nicolai, Marie H. Morrison and Carol Ockman. With an introduction by William H. Gerdts
\nJr. Vassar College Art Gallery, 1972
\nJodi Kovach in www.artsci.wustl.edu: \u201cThis 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\u2019s description of the group of American expatriate women artists in Rome in his book William Wetmore Story and his Friends, 1903\u201d.<\/p>\n
Waking Stone: Inventions on the Life of Harriet Hosmer (Arkansas Poetry Award)
\nPublisher: University of Arkansas Press (October 1, 2006)
\nLanguage: English
\nISBN-10: 1557288259
\nISBN-13: 978-1557288257<\/p>\n
NB! The fact that an artist is mentioned in Feminine Moments\u2019 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 \u201cout and proud\u201d in their writings\u2026<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Feminine Moments’ bibliography – art books by American sculptor Harriet Hosmer<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1099],"tags":[780],"class_list":["post-17666","post","type-post","status-publish","format-standard","hentry","category-h","tag-harriet-hosmer"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/posts\/17666","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/comments?post=17666"}],"version-history":[{"count":0,"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/posts\/17666\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/media?parent=17666"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/categories?post=17666"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.femininemoments.dk\/blog\/wp-json\/wp\/v2\/tags?post=17666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}