Philadelphia's Cultural Landscape: The Sartain Family Legacy

Temple University Press, 2000 - 211 pages
In their day, from 1830 to 1930, the Sartain family of Philadelphia were widely admired as printmakers, painters, art administrators, and educators. Since then, the accomplishments of three generations of Sartains -- John, children Samuel, Henry, Emily, and William, and grand-daughter Harriet -- have become obscure. This wide-ranging collection of essays aims to rectify that situation. The patriarch of the family -- John Sartain -- came to Philadelphia from London in 1830 seeking success as a mezzotint engraver. Mezzotint was a sophisticated means of popularizing the work of well-known painters, and as an English-trained engraver John was in great demand. He became influential, not just as a pictorial engraver, but as a painter publisher, and administrator. He even designed monuments and furniture. And he passed on his skills and learning to his children.One of John's daughters and three of his sons went on to become equally celebrated. Emily, with her friend Mary Cassat, become a well-known painter and principal of the Philadelphia School of Design for Women, precursor of the Moore College of Art and Design. As an art educator, she spearheaded the women's art movement, traveling widely as a speaker and delegate. John's sons Samuel and Henry worked with their father as engravers and printmakers and were early photography enthusiasts. Son William moved to New York, where he became an associate of the National Academy of Design, a founder of the Society of American Artists, and president of the Art Club of New York. Henry's daughter Harriet followed her aunt Emily as head of the School of Design, where she advocated broad popular access to art appreciation training. The Sartains were important not just for who they were but for who they knew and influenced. They were in the vanguard of the movement to democratize art and art education. Among their associates were Judd Sartain, a successful homeopathic physician who financed her niece Emily's professional training; poet and short-story writer Edgar Allan Poe; painter Thomas Eakins, Emily's one-time beau; and industrialist and art collector Joseph Harrison, Jr. Lavishly illustrated with 113 duotones and 8 color plates, Philadelphia's Cultural Landscape is a fascinating book at a century in which the production and promulgation of art was seen as everybody's business, and at a family that epitomized that spirit.

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Table des matières

Sartain Family Tree
COLOR PLATES FIG 3AB 0hn Sartain home at 728 Sansom Street
4 A Portrait of the Sartain Family and Their Home
TITLE PAGE foreground Samuel Sartain after Christ Women 18805 pp 2021
Philadelphias Cultural Landscape 18301855 FIG 11 R Newell and Son Residence of ames L
John Sartain and Peter F Rothermel
Is Edward Dalton Marchants Abraham Lincoln
The Influences of a Teacher
The ltalianate Romance of Emily Sartain and Thomas Eakins
Creating a Community
The Sartain Family and the Philadelphia School of Design for Women
Harriet Sartain and Democracy in Art Education 19001930
Thoughts on the Historiography of Art in NineteenthCentury Philadelphia
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À propos de l'auteur (2000)

Katherine Martinez is Member Services Officer for Research Libraries Group, Inc.

Page Talbot is a museum and restoration consultant.

CONTRIBUTORS: Elizabeth Johns, Cheryl Leibold, Katharine Martinez, Elizabeth Milroy, Sue Himelick Nutty, Patricia Likos Ricci, Ethan Robey, Kirsten Swinth, Page Talbot, Tara Leigh Tappert, Mark Thistlethwaite, Andrew L. Thomas, Nina de Angeli Walls, Helena E. Wright, and Sylvia Yount

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