This project is made possible through support from the Terra
Foundation for American Art. When Elizabeth Cady Stanton penned the
Declaration of Sentiments for the first women’s rights
convention, held in Seneca Falls, New York, in 1848, she unleashed
a powerful force in American society. In A Sisterhood of Sculptors,
Melissa Dabakis outlines the conditions under which a group of
American women artists adopted this egalitarian view of society and
negotiated the gendered terrain of artistic production at home and
abroad. Between 1850 and 1876, a community of talented women sought
creative refuge in Rome and developed successful professional
careers as sculptors. Some of these women have become well known in
art-historical circles: Harriet Hosmer, Edmonia Lewis, Anne
Whitney, and Vinnie Ream. The reputations of others have remained,
until now, buried in the historical record: Emma Stebbins, Margaret
Foley, Sarah Fisher Ames, and Louisa Lander. At midcentury, they
were among the first women artists to attain professional stature
in the American art world while achieving international fame in
Rome, London, and other cosmopolitan European cities. In their
invention of modern womanhood, they served as models for a younger
generation of women who adopted artistic careers in unprecedented
numbers in the years following the Civil War. At its core, A
Sisterhood of Sculptors is concerned with the gendered nature of
creativity and expatriation. Taking guidance from feminist theory,
cultural geography, and expatriate and postcolonial studies,
Dabakis provides a detailed investigation of the historical
phenomenon of women’s artistic lives in Rome in the
mid-nineteenth century. As an interdisciplinary examination of
femininity and creativity, it provides models for viewing and
interpreting nineteenth-century sculpture and for analyzing the
gendered status of the artistic profession.
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