By Williams E. T.
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Extra resources for A Spectrophotometric Study of Class A Stars
44 And more harshly still: I agree with you that, looked at in the light of Art, nothing she has produced is worth a second glance; but I am more disposed than you seem to be to give her time for a fair trial. 46 Unlike Child’s view, Anne Whitney’s opinions about Lewis’s talents seemed to improve drastically over time. In a letter to her sister she related: I went this —— to Edmonia Lewis’ studio when I think I have not been since the 1st year at least to look about and I must confess I was not only surprised but greatly pleased at the progress she has made.
Writing to her sister Sarah in the winter of 1869, Whitney painted the image of Lewis as a stubborn, strong-willed, yet overly sensitive character: She made last year a statue life-sized which she called Hagar—had I thought it possible to counsel her I should have been thankful to save her from the peril—color— indulgence and it must be said the dreadful ignorance of a large class of buying have led her on—but there is a limit somewhere to such things and now it seems she has involved poor ——. But this is also marked Private.
As the discussion of the speciﬁc artistic practices of the Roman expatriate colony will attest, nineteenth-century neoclassical sculpture was an expensive and many times monumental tradition that often intersected with overtly political rituals of commemoration within the public sphere. It is in part the public nature of sculpture as “high” art that resulted in its investment in the bourgeois ordering of the body, which was both patriarchal and colonial. Sculpture constitutes, perhaps more than other forms of visual art, a racialized aesthetic and material practice.