https://www.allisonklange.com/home daily 0.75 2018-07-12 https://www.allisonklange.com/imagery daily 0.75 2017-01-28 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435675681597-1UX35MEWJERALEJ7U0NK/image-asset.jpeg Imagery and Overview - Philip Dawe, “A Society of Patriotic Ladies, at Edenton in North Carolina,” 1775, mezzotint, Library of Congress Prints and Photographs Division. Women did not act as military or political leaders in the Revolutionary War, but many women supported the war effort by making clothes out of homespun or refusing to drink tea. Fellow Americans might have been inclined to praise women’s efforts as patriotic, but Loyalist opponents were not. A 1775 print reflects British supporters’ disapproval of women’s participation in the rebellion. A group, composed mostly of women, gathers around a table to sign a document (fig. 35). Two women holding quills sign the paper in the center of the mezzotint. One leans over the table, while a man whispers into the ear of another. A woman with a hook nose and an extravagant hairstyle holds a gavel and sits at the end of a table as if she is holding court. A black woman, probably a slave, approaches the table holding a quill and ink bottle, perhaps intending to sign the document as well. Another woman standing near the window drinks what is likely alcohol from a bowl, encouraged by the person standing beside her. Three women on the left side of the frame pour containers of tea into open receptacles held by two men. Under the table a child plays, ignored by everyone in the room except for a small dog. As he licks the child’s face, the dog urinates on discarded containers of tea. Dawe suggested that men had used alcohol and suggestions of romance to persuade impressionable women to sign the boycott. The political women ignore their duties as wives and mothers, while the men are so concerned with their political aims that they have forgotten this as well. The neglected child symbolizes the negative consequence of this role reversal. Together, these tropes for disorder in the print, entitled “A Society of Patriotic Ladies, at Edenton in North Carolina,” illustrated the upheaval in the colonies. Printed in London for the amusement of loyalists on both sides of the Atlantic, Philip Dawe drew this picture based on the news that women boycotted British tea. Fifty-one women from Edenton met on October 25, 1774 and agreed to boycott tea and endorse nonimportation. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1485632222978-B8B7O1X3XKJXFXYT0CZA/image-asset.jpeg Imagery and Overview - Philip Dawe, “A Society of Patriotic Ladies, at Edenton in North Carolina,” 1775, mezzotint, Library of Congress Prints and Photographs Division. In the late eighteenth and early nineteenth centuries, caricatures--like the one above--lampooned political women. The mezzotint depicts the women of Edenton, North Carolina who gathered to boycott British tea in 1774. They gather to sign the boycott, while a particularly masculine-looking woman on the right watches over the proceedings. The group ignores the child under the table, which suggests that when women participate in politics they ignore their domestic duties. They lose their physical beauty as well. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435764336808-9EXQ0PQFS5ARSVIXIFV3/image-asset.jpeg Imagery and Overview - “Woman’s Emancipation,” 1851, engraving, published in Harper’s New Monthly Magazine, August 1851, 424, Boston Athenaeum. When woman organized in the 1840s, they demanded better education, employment, and control over their money and property. Artists, however, continued to caricature political women in a similar manner, ensuring that no one took them seriously. This 1851 engraving depicts six women wearing top hats and the scandalous bloomer costume instead of traditional dresses while smoking on a street corner. These masculine women drive away the sole man in the scene. While cartoonists did not officially band together to condemn woman’s rights, the great quantities of pictures like this one ensured the dominance of this message. The cartoons policed gender roles and undercut the efforts of reformers. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435781085260-CLC8AA8M4NU4Z546OLHL/MW+jpg.jpg Imagery and Overview - J. Rogers and John Wollaston, Mrs. George Washington (Martha Dandridge), 1855, engraving, published in Rufus Griswold's The Republican Court, New York Public Library Digital Collections. Female activists were caricatured, but First Lady Martha Washington became an icon of idealized political womanhood. For example, this portrait from an 1855 book depicts Washington as a beautiful young woman in a garden. The author lauded her beauty and hostess skills because she never forgot “the requirements of feminine propriety.” Indirect political participation, especially to support one’s husband and family, was a prized form of female patriotism. (For more on my work on Martha Washington, click here.) https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435850604995-GPSGONC8IAVP2LB716B0/Sojourner+Truth+2010.69.jpg Imagery and Overview - Sojourner Truth, 1864, photograph carte de visite, Harvard Art Museum/Fogg Museum, Fine Arts Library, Harvard College Library. Former slave Sojourner Truth was among the first female activists to carefully shape her public image. Unlike other famous people who allowed photographers to sell their portraits, she sold them herself. While Truth’s portraits vary slightly, they consistently show her adopting the visual conventions for representing respectable white middle-class matrons. In this portrait, Truth sits next to a table with her knitting needles and looks up as if the photographer interrupted her mid-stitch. She wears wire-rimmed glasses that refer to her intelligence and inclusion in elite, educated circles. Truth had to claim respectability in her portraits in a way that white female reformers did not. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435783430122-MK95PCYIS0QK6NKGGZHB/ECS+and+SCA+carte.jpg Imagery and Overview - “Portraits of Stanton and Anthony Together,” ca. 1870-1895, carte de visite, Schlesinger Library on the History of Women in America. After activists created the first national suffrage organizations in 1869, they decided to take control of their movement’s public image as well. Leaders, especially Elizabeth Cady Stanton and Susan B. Anthony, used portraits like this one to establish themselves as prominent leaders. Together the women look formidable. Stanton’s stare (or glare?) directly at the viewer is the most striking detail. Both women wear traditional, fashionable dresses, rather than the bloomers they had worn fifteen years earlier. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435785097570-1ZT0EJVWEJN6XWGJWP95/SBA+and+ECS.jpg Imagery and Overview - Left: J. C. Buttre, Elizabeth Cady Stanton, 1881, engraving. Right: G. E. Perine & Co., Susan B. Anthony, 1881, engraving. Portraits published in History of Woman Suffrage, volume one. These portraits of Stanton and Anthony appeared in the first volume of the History of Woman Suffrage (1881) and resembled popular imagery of male politicians. Unlike portraits of Martha Washington, these pictures don't emphasize their beauty or depict them as mothers. Instead, they represent them as serious figures contemplating the future. The History of Woman Suffrage series was the first major effort to establish a historical narrative of the movement well as a tableau of its leaders. The editors took advantage of the gentility implied by their white skin and featured portraits of only white women. Later in the 1890s, black reformers began publishing books with portraits of black suffragists that aimed to claim the prominence that they were denied. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435845680385-O9RPLN13S60XO9FTYWX0/IMG_1202.JPG Imagery and Overview - Blanche Ames, “Double the Power of the Home—Two Good Votes Are Better Than One,” 1915, engraving, published in The Woman’s Journal, October 23, 1915 and the Boston Transcript, September 1915. In 1890, suffragists merged into one national organization: the National American Woman Suffrage Association (NAWSA). Instead of relying on the efforts of individual leaders, NAWSA decided to establish new committees in charge of press and art publicity. Their imagery changed too. NAWSA emphasized that suffragists were good mothers who wanted to apply their expertise to improve society. This 1915 engraving by suffragist Blanche Ames depicts a young woman with an angelic face with three children surrounding her. An idyllic home, complete with a “God Bless Our Home” sign, provides the backdrop. Ames argues that a good white privileged mother like this one would positively influence politics. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1484595231784-HG1ZVFJXVCN0TFEXR00P/MCT+website.jpg Imagery and Overview - “Mrs. Mary Church Terrell,” 1900, engraving, The Colored American, February 17, 1900. Since NAWSA excluded black women and ignored their concerns, black women had to construct their own movement. Established in 1896, the National Association of Colored Women (NACW) focused on the broader goals of racial and gender equality. Still, political imagery of both groups emphasized the respectability of suffragists. Between NAWSA and the NACW, visual propaganda that promoted suffragists as virtuous wives and mothers dominated the movement’s imagery through 1920. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1436281329188-695UQMJKH06FESMZ5UY8/Picket+jpeg.jpg Imagery and Overview - Harris and Ewing, "Penn[sylvania] on the picket line-- 1917," 1917, Library of Congress Prints and Photographs Collection. The imagery of the National Woman’s Party (NWP), founded in 1913, rejected the emphasis on feminine virtue. In the 1890s, the adoption of the halftone printing process allowed for the cheap reproduction of photographs in newspapers for the first time. The NWP took advantage of this new technology. They coordinated spectacular protests that ranged from parades to pickets in order to attract news photographers. When the United States entered World War I in 1917, NAWSA circulated visual propaganda and news photographs that emphasized women’s patriotic contributions to the war effort. That same year, press photographers snapped pictures of the NWP picketing the White House. The controversy over the NWP’s news photographs of suffragists picketing, imprisoned, and going on hunger strikes forced politicians to address the issue. Even so, male political leaders embraced dominant rhetoric of respectable, patriotic political womanhood to justify their support for the Nineteenth Amendment. Women won the vote when they created a visual campaign that countered over a century of opponents’ cartoons, incorporated new visual technologies, and developed professional campaign strategies. https://www.allisonklange.com/connect daily 0.75 2019-10-18 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1531430741460-LLIXZ2QYPWB6MYAIRTSP/Wheatley+website+AAS.jpeg Contact https://www.allisonklange.com/about daily 0.75 2021-01-25 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1531870189918-E4CZ6P8XZRT5FY49380N/Awakening.jpg About https://www.allisonklange.com/research daily 0.75 2017-01-19 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1484581964386-972VX0K8K9L4VSGZH52D/Website+Woman+Who+Dared.jpg Current Research - Graphic Statues, no. 17 "The Woman Who Dared" https://www.loc.gov/item/95512461/ https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1484582057717-IYP7QZYLR6EZ0O4UVAUH/ECS+and+SCA+carte.jpg Current Research - Elizabeth Cady Stanton and Susan B. Anthony http://via.lib.harvard.edu:80/via/deliver/deepLinkItem?recordId=olvgroup1001103&componentId=RAD.SCHL:358746 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435633791373-LZEDXR94MYYOX6PTO2NR/Offical+Program.jpg Current Research https://www.allisonklange.com/teaching-1 daily 0.75 2017-01-18 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1435675591608-LEIT2H137PMB42DNGX9M/Giving+a+tour.jpg Teaching https://www.allisonklange.com/exhibits daily 0.75 2021-09-22 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1460587889463-9I0X232KOZZWKCWGYXBL/image-asset.jpeg Exhibits Photo by Kelly Benvenuto Photography https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1460643429630-KRAWDTWHWS0BAZ3WX022/151110_WeAreOne_031.jpg Exhibits https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1460595466735-ZYKSS63VH2ABJQ24KZOM/151110_WeAreOne_011.jpg Exhibits https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1436364402145-3X55U50V5DVG8BSM51XX/Hendrick.jpg Exhibits - The brave old Hendrick the great sachem or chief of the Mohawk Indians, etching and engraving, London, 1755. Mohawk Chief Hendrick was killed while fighting with the British colonial troops at the Battle of Lake George in 1755. He appears on a horse on the next map, identified by the number three. Hendrick was a powerful leader within the Iroquois Confederacy. His leadership and alliance with the British helped the Mohawks maintain their strength even as the British Empire grew. This portrait, printed in London, depicts him in a European-style military uniform, with a wampum belt in his left hand and a hatchet in his right. Contemporaries mentioned facial tattoos, which likely accounts for the markings on his face. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1436364491171-0N5FHYP3TDLZZLO5CDCM/06_01_008537.jpg Exhibits - Samuel Blodget, A Prospective View of the Battle Fought near Lake George London, 1756. Engraving, hand colored, Richard H. Brown Collection, Norman B. Leventhal Map Center. This map depicts the Battle of Lake George. Blodget created the map based on his viewpoint during the battle. A booklet accompanied the map, which can be viewed here. The booklet explains the numbered points on the map, including the one that references the Mohawk Chief Hendrick. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1436365219972-AIORP6A5BALPB7J69C5N/phillis.jpg Exhibits - “Phillis Wheatley, Negro Servant to Mrs. John Wheatley, of Boston,” in Phillis Wheatley, Poems on Various Subjects, Religious and Moral London, 1773. Engraving, Library of Congress. Phillis Wheatley came to Boston as a slave from Africa when she was around eight years old. She received an usually good education for a woman, especially a slave, and became a prominent poet in America and England. In this portrait from her book of poems, Wheatley sits at her desk with her quill thinking about her next lines. The portrait challenged racial hierarchies by representing her as an author instead of as a slave. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1460643767033-M8RNJNN89UGGLBM9YF5V/151110_WeAreOne_041.jpg Exhibits - The Royall Family While Southern states are usually associated with slavery, this grouping of maps tell a story about slavery in Boston. The Royall family (pictured on the bottom left) owned a plantation in Antigua (on the right). The map on the top right shows their property just outside of Boston, where they lived in a large mansion that is now open to the public. They owned dozens of slaves, and the grounds feature the only remaining slave quarters in New England. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1460643567706-YP5HDH6A7YDU9L2YSY7Y/151110_WeAreOne_027.jpg Exhibits - George Washington, Surveyor Long before he became an military and political leader, Washington was a land surveyor. He knew the value of maps, especially during battle. This quote in the picture above emphasizes that the colonists lacked the extensive maps that the British had access to during the Revolutionary War. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1460643764139-0Y0NBBTH5LDOEG944OVR/151110_WeAreOne_045.jpg Exhibits - Pierre Simon Benjamin Duvivier, Congressional Gold Medal Awarded to George Washington, Paris, 1789. Gold medal, diameter, 2.75 inches. Congress awarded Washington this medal after he forced the British to evacuate Boston in 1776. Because the event is so central to the city's history, Bostonians banded together to purchase it from his descendants for the library in the 1870s. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1460643566494-535W5OX94KIVAMH3HUCV/151110_WeAreOne_003.jpg Exhibits - John Wallis, The United States of America Laid Down from the Best Authorities, Agreeable to the Peace of 1783 London, 1783. Engraving, hand colored, 19 x 22.5 inches These maps from the 1780s featured the outlines of the new United States and served to legitimate the existence of the new nation. The decorative cartouche from John Wallis's map covers the back wall. The image features early American iconography, including portraits of George Washington, Benjamin Franklin, a figure of liberty, and one of the first representations of the American flag. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571572667670-D7P1I0Q850SE7HG8F919/Allison-MHS-05.jpg Exhibits - Allison stands with one of her favorite features of the exhibition, a suffrage bluebird and anti-suffrage rose mobile https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571572563578-G0RYK2ZAEUL0RQ6BZ5YQ/Remonstrance_work_lg+copy1.jpg Exhibits - Jud Wright, “Can She Do It?” from The Remonstrance, ca. 1910s In this illustration, a woman attempts to juggle four items that symbolize the work society expects from her. She keeps her baby, a pot that symbolizes cooking, and a ballot in the air, but the broom has fallen to the side. The Remonstrance, an anti-suffrage publication, printed this picture to argue that women could not juggle all of these tasks. For women, voting and caring for one’s house and family were not compatible tasks. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571572704754-H3O329FF57ZP8IACB1W3/Allison-MHS-15.jpg Exhibits - Interactive feature Allison created this interactive feature to help visitors identify visual details that would have been shocking to 19th-century viewers, such as women smoking and proposing marriage. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571573602624-49CJZ72KAST38XR1J7I4/20190814_MHS_Suffrage_ORR_STUDIO_0015.JPG Exhibits - Exhibit introduction For over a century, Americans debated whether women should vote. They wondered: was voting compatible with women’s traditional domestic work? If women participated in politics, would men continue as heads of the family? Would women remain virtuous and “feminine,” or would they start to look and act like men? In Massachusetts, suffragists were especially powerful. In 1850, Worcester hosted the first national women’s rights convention. Later, Lucy Stone led the nation’s largest suffrage organization and edited the longest-running woman’s rights newspaper from her Park Street office. In 1895, fellow Bostonian Josephine Ruffin founded one of the first national groups to advocate for the rights of women of color. Local anti-suffragists proved influential too. Their arguments against extending the vote to women dominated legislative debates and newspaper articles. In 1895, Massachusetts men and women formed the nation’s first organized anti-suffrage association. This exhibition highlights the fight over a woman’s right to vote in Massachusetts by illustrating the arguments made by suffragists and their opponents. Women at the polls might seem unremarkable today, but these contentious campaigns prove that suffragists had to work hard to persuade men to vote to share the ballot. These century-old arguments formed the foundations for today’s debates about gender and politics. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571573656358-9MA3AXDF82Z764PMVGQQ/20190814_MHS_Suffrage_ORR_STUDIO_0031.JPG Exhibits - Video feature Students at the Wentworth Institute of Technology designed these documentary videos. During the fall 2018 and spring 2019, they worked with Allison Lange, the exhibition curator and their professor, and collaborated with MHS staff to highlight the collections. The assignment prompted them to craft a three- to four-minute video about the debate over women’s rights in Massachusetts. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571573696899-YUBZPZY725HAHL513O14/20190814_MHS_Suffrage_ORR_STUDIO_0043.JPG Exhibits - Cases and wall displays This room featured questions on the walls that suffragists and their opponents answered differently, such as “Can Women Lead?” and “Should Women Protest in the Streets?” Images on the walls demonstrated responses from each group. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571573818941-I0KQ7VVYJ8312A7ICP2A/Allison-MHS-12.jpg Exhibits - Henry Mayer, “The Awakening,” from Puck, February 20, 1915, Library of Congress In 1869, women in Wyoming became the first female voters in the United States. Gradually, women in other western states also won the ballot. This illustration features Lady Liberty, wearing suffrage yellow, bringing women’s voting rights from western states to eastern ones. The magazine Puck, which printed this cartoon, had mocked suffrage for decades. During the New York state suffrage campaign in 1915, the editors changed their minds. The tide had changed. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1571573725243-QO5LQ43TSVCBO7RX21NA/20190814_MHS_Suffrage_ORR_STUDIO_0041.JPG Exhibits - 19th Amendment and the Aftermath The exhibit concluded by discussing the successes and limitations of the 19th Amendment and the continued efforts to win women’s rights. https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1436282672589-EVQYL1CQSWMG7U6MQUKN/06_01_008537.jpg Exhibits https://www.allisonklange.com/about-1 daily 0.75 2018-07-12 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1531428696367-XKWZYRL4EO4PY7MDWFJC/151110_WeAreOne_064+copy.jpg About https://www.allisonklange.com/media daily 0.75 2022-09-01 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1454978303521-FA969C3LI17OA6H1IECV/Website+writing.jpg Media https://www.allisonklange.com/freesources daily 0.75 2018-01-01 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1459470942536-NP62UCD32N9SQOQNH71L/MW+website+image.jpeg Free Sources https://www.allisonklange.com/new-page daily 0.75 2018-07-12 https://www.allisonklange.com/home1 daily 1.0 2022-09-01 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1581116171356-WO585YJ8X9AJIRLQHA7B/R5_Lange_9780226703244.jpg Home - Pre-Order Here https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1531430516675-D3EY3AETJ2R89RXXN4MM/151110_WeAreOne_064+copy.jpg Home https://www.allisonklange.com/talks daily 0.75 2021-09-22 https://images.squarespace-cdn.com/content/v1/55809242e4b051888f79d0c3/1567011255918-E9BVO6ZWNEITV1IWFI8J/MHSopening4.JPG Talks - Book a talk Samples - Images and the Debate about Women’s Voting Rights - Anti-Suffragists and their Visual Campaign - Susan B. Anthony and the Images of the Suffrage Movement