LEADER 03251nam 2200541 450 001 9910810188903321 005 20230803022452.0 010 $a1-62103-988-9 010 $a1-61703-901-2 035 $a(CKB)2550000001162043 035 $a(EBL)1181936 035 $a(MiAaPQ)EBC1181936 035 $a(OCoLC)841187088 035 $a(MdBmJHUP)muse28613 035 $a(Au-PeEL)EBL1181936 035 $a(CaPaEBR)ebr10805849 035 $a(CaONFJC)MIL545044 035 $a(EXLCZ)992550000001162043 100 $a20130411h20132013 uy| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aGeorge Ohr $esophisticate and rube /$fEllen J. Lippert 210 1$aJackson :$cUniversity Press of Mississippi,$d[2013] 210 4$dİ2013 215 $a1 online resource (207 p.) 300 $aDescription based upon print version of record. 311 $a1-306-13793-4 320 $aIncludes bibliographical references and index. 327 $apart I. Ohr the man -- part II. Ohr the potter. 330 $a"The late nineteenth-century Biloxi potter, George Ohr, was considered an eccentric in his time but has emerged as a major figure in American art since the discovery of thousands of examples of his work in the 1960s. Currently, Ohr is celebrated as a solitary genius who foreshadowed modern art movements. While an intriguing narrative, this view offers a narrow understanding of the man and his work that has hindered serious consideration. Ellen J. Lippert, in her expansive study of Ohr and his Gilded Age context, counters this fable. The tumultuous historical moment that Ohr inhabited was a formative force in his life and work. Using primary documentation, Lippert identifies specific cultural changes that had the most impact on Ohr. Developments in visual display and the altered role of artists, the southerner redefined in the wake of the Civil War, interest in handicraft as an alternative to rampant mass production, emerging tenets of social thought seeking to remedy worker exploitation, and new assessments of morals and beauty as a result of collapsed ideals all played into the positioning Ohr purposefully designed for himself. The second part of Lippert's study applies these observations to Ohr's body of work, interpreting his stylistic originality to be expressions of the contradictions and oppositions particular to late nineteenth-century America. Ohr threw his inspiration into being both the sophisticate and the 'rube,' the commercial huckster and the selfless artist, the socialist and the individualist, the 'old-fashioned' craftsman and the 'artist-genius.'"--$cProvided by publisher. 606 $aArt and society$zUnited States$xHistory$y19th century 606 $aArt and society$zUnited States$xHistory$y20th century 615 0$aArt and society$xHistory 615 0$aArt and society$xHistory 676 $a738.092 676 $aB 686 $aART045000$aTRV025080$aBIO001000$2bisacsh 700 $aLippert$b Ellen J$01601661 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910810188903321 996 $aGeorge Ohr$93925347 997 $aUNINA