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Example of the early plain style on this tombstone carved by George Griswold dated 1675. Hartford Ancient Burying Ground. The earliest known New England stonecutters were George Griswold and his uncle Matthew, who settled in Windsor, Connecticut around 1640. Matthew carved the oldest known grave marker in the New World, a table monument made of ...
The Proscribed Royalist, 1651 (1852-1853) is a painting by John Everett Millais which depicts a young Puritan woman protecting a fleeing Royalist after the Battle of Worcester in 1651, the decisive defeat of Charles II by Oliver Cromwell. The Royalist is hiding in a hollow tree, a reference to a famous incident in which Charles himself hid in a ...
The Puritans have often been depicted wearing simple black and white, but for them, the color "black" was itself considered too bold for regular use and was reserved for community elders and for highly formal occasions such as when having one's portrait painted. Black was considered so formal in part because black dye was difficult to obtain ...
Published by Boston University and The Currier Gallery of Art for The Dublin Seminar for New England Folklife, 1979. An exhibition catalog for a Loan Exhibition held at the Currier Gallery of Art, Manchester, NH. ISBN 0-87270-050-X. Bliss, William Root: Side Glimpses from the Colonial Meeting House. Houghton, Mifflin, and Company, New York, 1894.
The Old Ship Church, a Puritan meetinghouse in Hingham, Massachusetts. The plain style reflects the Calvinist values of the Puritans. In the years after the Antinomian Controversy, Congregationalists struggled with the problem of decreasing conversions among second-generation settlers.
'The Puritan Portrait: Its Function in Old and New England', in Seventeenth-Century New England, ed. David D. Hall and Philip Chadwick Foster Smith. Boston: The Colonial Society of Massachusetts, 1984, 153–84; Promey, Sally, 'Seeing the Self "in frame": Early New England Material Practice and Puritan Piety', Material Religion 1 (2005), 10–46
There was no Puritan view against beauty in the arts, and therefore no objection to visual fineries; however, the pragmatism intrinsic to the Puritan mindset limited the amount of art produced in the Americas. [1] The practical activities of life generally outweighed any sort of extravagance in the Puritan community.
Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914, Abrams, 1996. ISBN 0-8109-6317-5; Baumgarten, Linda: What Clothes Reveal: The Language of Clothing in Colonial and Federal America, Yale University Press, 2002. ISBN 0-300-09580-5; Black, J. Anderson and Madge Garland: A History of Fashion, Morrow, 1975. ISBN 0-688-02893-4