{"title":":Borrowing from Our Foremothers: Reexamining the Women’s Movement through Material Culture, 1848–2017","authors":"J. Conrad","doi":"10.1086/724093","DOIUrl":"https://doi.org/10.1086/724093","url":null,"abstract":"","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43101650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Conversation about Catesby’s Natural History with the Plant-Loving Winterthur CEO","authors":"Chris Strand","doi":"10.1086/725136","DOIUrl":"https://doi.org/10.1086/725136","url":null,"abstract":"THE CHARLES F. Montgomery Director of Winterthur Chris Strand reviewed the Catesby volumes in the Winterthur Library with Catharine Dann Roeber, Rebecca Parmer, and Sarah Lewis. As director of Winterthur’s gardens and estate for sixteen years prior to assuming his present position, Strand’s perspectives on Catesby’s Natural History are informed by his broad understanding of Winterthur’s collections and institutional history. As someone who has a background in biology and horticulture, what strikes you when first opening Winterthur’s volumes of Catesby’s Natural History of Carolina, Florida and the Bahama Islands in person? Can you walk us through your process of looking at—and beginning to think about—a historic natural history guide like this one? I think anyone who looks at these volumes is going to be struck first by the beauty of them, at least that is the case for me. Next, it starts to sink in how brave, in a sense, his illustrations are. Let me explain what I mean by that. I started my college career as a molecular biology major at the University of Colorado, but I love plants and I got very excited about evolutionary plant ecology and taxonomy. One of the things you could still do when I was a student was learn the basics of plant taxonomy, including botanical illustration and the process for collecting specimen plants from nature. When I look at Catesby’s illustrations, I can’t help but see them through the lens of my own fumbling attempts at botanical drawing and collecting. Botanical drawings—and these illustrations— are more than just artwork, they are tools. They are meant to capture important details so that botanists can describe, and more importantly, differentiate","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":"56 1","pages":"179 - 183"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46818178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Map, Paper, Prints","authors":"M. Brückner","doi":"10.1086/725137","DOIUrl":"https://doi.org/10.1086/725137","url":null,"abstract":"","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":"56 1","pages":"185 - 202"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46381298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":The Material World of Eyre Hall: Four Centuries of Chesapeake History","authors":"Brigette Jones","doi":"10.1086/723105","DOIUrl":"https://doi.org/10.1086/723105","url":null,"abstract":"","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49371495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Transformative Power of Spaces","authors":"Diana Strazdes","doi":"10.1086/723060","DOIUrl":"https://doi.org/10.1086/723060","url":null,"abstract":"Rembrandt Peale’s portrait of George Washington, “Patriae Pater,” painted for the Marquis de Lafayette’s 1824 visit to Philadelphia, was a key element in the celebratory decorations devised by architect William Strickland. Displayed in the old statehouse, now Independence Hall, Peale’s painting contributed to a potent illusion extending beyond the canvas itself. It created the sensation of a threshold between past and present, enacted also during the welcoming parade on Philadelphia’s streets and the farewell ball staged in Chestnut Street’s New Theater. These venues invited participants into liminal spaces in which references to the Roman empire symbolized an expanding nation.","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":"56 1","pages":"95 - 126"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47383186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":American Furniture, 1650–1840: Highlights from the Philadelphia Museum of Art","authors":"M. Rodríguez","doi":"10.1086/723103","DOIUrl":"https://doi.org/10.1086/723103","url":null,"abstract":"","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41477009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Enslavement and Its Legacies: “Constantly to look at me”","authors":"J. Boldt","doi":"10.1086/723058","DOIUrl":"https://doi.org/10.1086/723058","url":null,"abstract":"Combining quantitative study with close visual analysis of colonial Virginia portraits, this study argues that white colonists rendered enslaved people invisible in portraiture in an attempt to remove the “right to look” from the Black gaze. Simultaneously, enslaved audiences engaged with portraits in subversive ways, finding ways to “converse” with them and to affirm their own subjectivity. The resulting tension between Black and white gazes on plantations turned the gaze into a material practice through domestic portraiture and affected the function and development of American portraiture.","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":"56 1","pages":"127 - 166"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49144743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editor’s Introduction","authors":"Catharine Dann Roeber","doi":"10.1086/724173","DOIUrl":"https://doi.org/10.1086/724173","url":null,"abstract":"A 1980s ad campaign featuring the phrase “image is everything” underscored the particular power of visual culture. Images can do many things, and this slogan implies the numerous ways pictures can function for creators, subjects, and viewers. While this catch phrase referred to photography, it can equally be applied to portraiture in the eighteenth and early nineteenth centuries. Images of people painted in this era could mesmerize, narrate, document, and do so much more. The articles in this issue of Winterthur Portfolio illustrate this point by engaging with the power of portraits in colonial America and the early republic and their entanglements with individuals and communities. The authors of the articles consider portraiture as much more than aesthetically pleasing decoration. Instead, portraits are framed as having a visual power over people’s experiences. They did not simply hang on walls, they activated emotions. In her work on eighteenth-century Virginia portraiture, Janine Yorimoto Boldt skillfully demonstrates how the omission of enslaved individuals from all but three of the 500 known colonial Virginian portraits acted as an additional layer of power and control on the part of white enslavers. Virginia portraits may have been intended to commemorate or celebrate their sitters, but Boldt shows how they also excluded and controlled their viewers. Since curiosity, fear, and desire could be conjured by the painted faces that gazed out from these images, depicting an enslaved person implicitly acknowledged their humanity and threatened to undermine a system built on their forced labor. At the same time, the very people who made the paintings possible through their exertions in and around great houses and plantationswere “active spectators”whoengagedwith the portraits on their own terms in this world of objects and images. While individual early colonial Virginia portraits were seen by relatively small numbers of people in","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":"56 1","pages":"93 - 94"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44458000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Materials, Practices, and Politics of Shine in Modern Art and Popular Culture","authors":"M. Mapstone","doi":"10.5040/9781350192928","DOIUrl":"https://doi.org/10.5040/9781350192928","url":null,"abstract":"","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42208591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":The People’s Porn: A History of Handmade Pornography in America","authors":"Amy B. Werbel","doi":"10.1086/723102","DOIUrl":"https://doi.org/10.1086/723102","url":null,"abstract":"","PeriodicalId":43437,"journal":{"name":"WINTERTHUR PORTFOLIO-A JOURNAL OF AMERICAN MATERIAL CULTURE","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44315071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}