Review

"This book is well written and logically developed; the reader acquires an appreciation for the life and struggles of Cassius. . . . Historians have generated telling portraits of early 19th-century circuit riders. This project helps us see that similar conditions remained some 100 years later—especially for African American ministers. It also captures the frustration that black Christians felt with their white brothers and sisters"—Richard Goode, Lipscomb University

"Robinson has systematically examined all the extant writings of Cassius and done an excellent job of highlighting the most crucial aspects of his life. This volume does more than contribute to the history of the Churches of Christ. It also confers concretion to American and African American studies in the broader sweep from the Civil War to the beginning of the great Depression"—Thomas H. Olbricht, editor of The Quest for Christian Unity, Peace, and Purity in Thomas Campbell’s Declaration and Address: Text and Studies

Book Description

Prints—etchings, woodcuts, linoleum cuts, lithographs, and serigraphs—began to flourish as artistic media after World War I due to their affordability and an expanding market of art consumers. The American Scene movement, which arose in the 1920s and surged through the 1930s and 1940s, emphasized regionalism and embraced printmaking in particular as a medium well suited to portraying regional life. The American South became a focus for many artists and gave rise to some of the most aesthetically powerful practitioners of printmaking.

In this book, Lynn Barstis Williams outlines the history of printmaking in the South, its rise in popularity, its variations from region to region, the different methods embraced by printmakers, the growth of the print society movement, and the influence of social realism, New Deal art programs, and the Arts and Crafts movement on the aesthetics of southern printmakers. She also reviews the motifs, imagery, and subject matter that predominated in the work of many southern printmakers—the natural world, farms and farmers at work, rural architecture and townscapes, African-American life, religious gatherings, and scenes of leisure and play (hunting, dancing, music-playing).

As a finale, the author presents a catalog of 60 entries on printmakers of note, including a biographical sketch, representative sample of their work, and analysis of their imagery. This book accompanies an exhibition entitled, “Imprinting the South: Works on Paper from the Collection of Lynn Barstis Williams and Stephen J. Goldfarb” scheduled to run from July 21 — September 16, 2007, at the Georgia Museum of Art in Athens and in the winter of 2009 at the Jule Collins Smith Museum at Auburn University.

--This text refers to an alternate

edition.