David E. Shi
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195106534
- eISBN:
- 9780199854097
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195106534.003.0003
- Subject:
- History, History of Ideas
At the same time that journalists and editors were celebrating the vibrant new urban culture emerging in the United States at the point of mid-century, several commentators were criticizing the ...
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At the same time that journalists and editors were celebrating the vibrant new urban culture emerging in the United States at the point of mid-century, several commentators were criticizing the slavish dependence of American architects on classical or medieval styles. Those promoting an indigenous American architecture found an ardent advocate in the Boston-born sculptor Horatio Greenough with his new “functionalist” theory. However, the most fervent celebrant of the “triumph of the real” during the 1850s was a writer hardly known today: Charles Godfrey Leland who became the spirited editor of Philadelphia's struggling Graham's Monthly late in 1856. Leland brought a fresh conviction that America had reached a transitional stage in its cultural history. Leland discovered in Walt Whitman the epitome of the vigorous new cultural outlook he advocated. By rooting romantic idealism in an affection for everyday realities, Whitman became the most potent catalyst for change in 19th-century American culture with genteel conservatism and domestic sentimentalism.Less
At the same time that journalists and editors were celebrating the vibrant new urban culture emerging in the United States at the point of mid-century, several commentators were criticizing the slavish dependence of American architects on classical or medieval styles. Those promoting an indigenous American architecture found an ardent advocate in the Boston-born sculptor Horatio Greenough with his new “functionalist” theory. However, the most fervent celebrant of the “triumph of the real” during the 1850s was a writer hardly known today: Charles Godfrey Leland who became the spirited editor of Philadelphia's struggling Graham's Monthly late in 1856. Leland brought a fresh conviction that America had reached a transitional stage in its cultural history. Leland discovered in Walt Whitman the epitome of the vigorous new cultural outlook he advocated. By rooting romantic idealism in an affection for everyday realities, Whitman became the most potent catalyst for change in 19th-century American culture with genteel conservatism and domestic sentimentalism.
Stephen J. Blundell and Katherine M. Blundell
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199562091
- eISBN:
- 9780191718236
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199562091.003.0007
- Subject:
- Physics, Particle Physics / Astrophysics / Cosmology
This chapter discusses the effusion of gases through small holes and the concept of flux. Effusion is the process by which a gas escapes from a very small hole. The empirical relation known as ...
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This chapter discusses the effusion of gases through small holes and the concept of flux. Effusion is the process by which a gas escapes from a very small hole. The empirical relation known as Graham's law of effusion states that the rate of effusion is inversely proportional to the square root of the mass of the effusing molecule. The concept of flux is a very important one in thermal physics. It quantifies the flow of particles or the flow of energy or even the flow of momentum.Less
This chapter discusses the effusion of gases through small holes and the concept of flux. Effusion is the process by which a gas escapes from a very small hole. The empirical relation known as Graham's law of effusion states that the rate of effusion is inversely proportional to the square root of the mass of the effusing molecule. The concept of flux is a very important one in thermal physics. It quantifies the flow of particles or the flow of energy or even the flow of momentum.
Cynthia Lee Patterson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737363
- eISBN:
- 9781621031185
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737363.001.0001
- Subject:
- History, American History: 19th Century
How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print ...
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How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations). Godey’s, Graham’s, Peterson’s, Miss Leslie’s, and Sartain’s Union Magazine included two to three fine art engravings monthly, “tipped in” to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation’s history, a modest living through art. This book examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual “illustrations” accompanying engravings, and the principal artists and engravers contributing to these magazines.Less
How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations). Godey’s, Graham’s, Peterson’s, Miss Leslie’s, and Sartain’s Union Magazine included two to three fine art engravings monthly, “tipped in” to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation’s history, a modest living through art. This book examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual “illustrations” accompanying engravings, and the principal artists and engravers contributing to these magazines.
Cynthia Lee Patterson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737363
- eISBN:
- 9781621031185
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737363.003.0001
- Subject:
- History, American History: 19th Century
This chapter explores the proliferation of American art through the distribution of magazines with engraved pictures during the mid-1800s. It explains that several magazines such as Saturday Evening ...
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This chapter explores the proliferation of American art through the distribution of magazines with engraved pictures during the mid-1800s. It explains that several magazines such as Saturday Evening Post, Godey’s Lady’s Book, and Graham’s Lady’s and Gentleman’s Magazine published various engraved American artworks and these were circulated for thousands of readers to see. It points out that the wide circulation of the magazines was an important factor in the democratization of American art, as it gave an opportunity for the middle and lower classes to appreciate and enjoy art.Less
This chapter explores the proliferation of American art through the distribution of magazines with engraved pictures during the mid-1800s. It explains that several magazines such as Saturday Evening Post, Godey’s Lady’s Book, and Graham’s Lady’s and Gentleman’s Magazine published various engraved American artworks and these were circulated for thousands of readers to see. It points out that the wide circulation of the magazines was an important factor in the democratization of American art, as it gave an opportunity for the middle and lower classes to appreciate and enjoy art.
Cynthia Lee Patterson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737363
- eISBN:
- 9781621031185
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737363.003.0006
- Subject:
- History, American History: 19th Century
This chapter explores promotional strategies and editorial matter used in Godey’s Lady’s Book, Graham’s Lady’s and Gentleman’s Magazine, Peterson’s Magazine, and Sartain’s Union Magazine. These show ...
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This chapter explores promotional strategies and editorial matter used in Godey’s Lady’s Book, Graham’s Lady’s and Gentleman’s Magazine, Peterson’s Magazine, and Sartain’s Union Magazine. These show differences on how these publications addressed their respective audiences. Godey’s artworks consisted mainly of images of women and children, to target its audience which consisted mainly of mothers. Both Graham’s and Peterson’s used numerous images of idealized beauty, as they both assumed that the majority of their readers were unmarried males. Sartain’s used titillating images of Indian maidens aimed to arouse a majority male readership.Less
This chapter explores promotional strategies and editorial matter used in Godey’s Lady’s Book, Graham’s Lady’s and Gentleman’s Magazine, Peterson’s Magazine, and Sartain’s Union Magazine. These show differences on how these publications addressed their respective audiences. Godey’s artworks consisted mainly of images of women and children, to target its audience which consisted mainly of mothers. Both Graham’s and Peterson’s used numerous images of idealized beauty, as they both assumed that the majority of their readers were unmarried males. Sartain’s used titillating images of Indian maidens aimed to arouse a majority male readership.
Cynthia Lee Patterson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737363
- eISBN:
- 9781621031185
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737363.003.0007
- Subject:
- History, American History: 19th Century
This chapter examines competition between the magazines Godey’s Lady’s Book, Graham’s Lady’s and Gentleman’s Magazine, Peterson’s Magazine, and Sartain’s Union Magazine, in securing engravers. Both ...
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This chapter examines competition between the magazines Godey’s Lady’s Book, Graham’s Lady’s and Gentleman’s Magazine, Peterson’s Magazine, and Sartain’s Union Magazine, in securing engravers. Both magazines Godey’s and Graham’s vied for the services of a well-known line engraver William E. Tucker. This ended with victory for Godey’s magazine. Peterson’s stayed away from conflict and relied heavily in its resident engraver, Jacob D. Gross, a pupil of the mezzotint engraving pioneer John Sartain. The chapter notes that Sartain’s competed heavily against Godey’s in securing engravers, with the former using John Sartain’s connections with his fellow engravers and the latter using its vast funds to attract talent.Less
This chapter examines competition between the magazines Godey’s Lady’s Book, Graham’s Lady’s and Gentleman’s Magazine, Peterson’s Magazine, and Sartain’s Union Magazine, in securing engravers. Both magazines Godey’s and Graham’s vied for the services of a well-known line engraver William E. Tucker. This ended with victory for Godey’s magazine. Peterson’s stayed away from conflict and relied heavily in its resident engraver, Jacob D. Gross, a pupil of the mezzotint engraving pioneer John Sartain. The chapter notes that Sartain’s competed heavily against Godey’s in securing engravers, with the former using John Sartain’s connections with his fellow engravers and the latter using its vast funds to attract talent.
Cynthia Lee Patterson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737363
- eISBN:
- 9781621031185
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737363.003.0008
- Subject:
- History, American History: 19th Century
This chapter discusses the rise of lithographic art print companies such as Goupil, Vibert and Co. and Currier and Ives in the 1850s, which eclipsed the prominence of illustrated magazines in ...
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This chapter discusses the rise of lithographic art print companies such as Goupil, Vibert and Co. and Currier and Ives in the 1850s, which eclipsed the prominence of illustrated magazines in Philadelphia. Lithographic prints were cheaper and easier to produce, and with the artists working for both Goupil, Vibert and Co. and Currier and Ives, the American public started to shift their focus toward art prints. Both Graham’s Lady’s and Gentleman’s Magazine and Sartain’s Union Magazine ended in the 1850s. Godey’s Lady’s Book and Peterson’s Magazine continued to thrive, as they continued to publish high quality literature and they kept a loyal readership.Less
This chapter discusses the rise of lithographic art print companies such as Goupil, Vibert and Co. and Currier and Ives in the 1850s, which eclipsed the prominence of illustrated magazines in Philadelphia. Lithographic prints were cheaper and easier to produce, and with the artists working for both Goupil, Vibert and Co. and Currier and Ives, the American public started to shift their focus toward art prints. Both Graham’s Lady’s and Gentleman’s Magazine and Sartain’s Union Magazine ended in the 1850s. Godey’s Lady’s Book and Peterson’s Magazine continued to thrive, as they continued to publish high quality literature and they kept a loyal readership.
