I’ve been inspired by the recent coverage of the fall 2017 collections during New York and Paris fashion weeks to think about the many ways fashion is deployed as a critique of women’s vanity. Here are a couple of brilliant prints I came across recently that are great to consider together. First, we have “The Inconvenience of Dress” (1786), which mocks the late-1780s demand for “false rumps” or “cork bums” to fill out the rear portion of women’s skirts. The poor dear needs help from a false rump because she can’t get consume enough calories to build her own, given the fashion for generous neckerchiefs in women’s wear in this period, too. Aye, but “Who’ll not starve to lead the Fashion?” as the ditty below asks:
Max Nelson offers a fascinating overview of a current exhibition at the American Folk Art Museum in New York, “Securing the Shadow: Posthumous Portraiture in America.” I find this subject both touching and horrifying, especially considering the understandable impulse to commemorate lost children. But as Nelson notes (per the exhibition), the practice of painting or sculpting the recently deceased continued long after the invention of photography and the democratization of family portraiture. In fact, “mortuary photography”–photographs of the recently deceased, especially babies and children–was a big chunk of the business in early photography.
There’s a painting I’ve been using in my classes to illustrate the changes in how free Americans envisioned marriage and family life from the eighteenth to the nineteenth centuries. The Ephraim Hubbard Foster Family presents such a lively contrast to the dour mid-eighteenth century puritan portraits of husbands and wives–the fresh, blushing complexions! The number of children, who appear to have been painted as individuals! The focus on parental youth and beauty! I’ve wondered for a long time if the child so extraordinarily costumed on the window sill is in fact a dead child, but having reviewed the online images this exhibition offers, I don’t think this is the case. Here’s the portrait: Continue reading
Happy New Year, friends! As many of you know, we’re expecting an invasion of historians next week in Denver with the 131st annual meeting of the American Historical Association. As a local, I thought I’d offer some practical tips and tricks for the coastal swells and dudes who will be staggering around like a tweedy herd of longhorns. The AHA’s paper program covers a lot of this information on pp. 2-4, but their map is pretty limited and you might appreciate some insider intel. So, jump in the saddle and let’s go! (You can also bookmark this site on your mobile device as it offers links to some handy maps and other info.) Continue reading
Teaser Tuesday is back with more secrets of the convent from chapter four of my new book, The Many Captivities of Esther Wheelwright, namely: who’s doing all of the laundry, cleaning, and cooking inside the Ursuline convent in Québec? The aristocratic daughters of (often literally) entitled colonial officials, military officers, and fur trade merchants performed only the apostolic labor of the order–they were the elite choir nuns, and so worked as teachers and artists. It was the lay (or converse) sisters who got the dirty jobs done.
My excerpt today explains the differences between the choir nuns and the lay sisters, and tries to give you an idea of what daily life was like for these servant-sisters in the eighteenth century: Continue reading
For your bad fashion choices files from 200 years ago this month: an insane morning dress! Also known as granny jammies for lady pirates—
I find it difficult to believe anyone ever really liked this look. From the description: Continue reading