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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 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 ...
Symbolists believed that art should aim to capture more absolute truths which could be accessed only by indirect methods. They used extensive metaphor, endowing particular images or objects with symbolic meaning. They were hostile to "plain meanings, declamations, false sentimentality and matter-of-fact description". [39] [40]
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.
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 Puritan culture of the New England colonies of the seventeenth century was influenced by Calvinist theology, which believed in a "just, almighty God," [1] and a lifestyle of pious, consecrated actions. The Puritans participated in their own forms of recreational activity, including visual arts, literature, and music.
One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
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