Sunday, July 1, 2012

The Romantic Spirit of the Harlem Renaissance: Jean Toomer

In his only novel on African Americans, Jean Toomer also found beauty in the vernacular culture among the people in SpArta, Georgia, where Toomer spent two months working as an interim principal at the SpArta Agricultural and Industrial Institute in 1921 (Byrd 733). Nathan Pinchback Toomer (18941967) changed his name to Jean after his move to Greenwich Village and reading Romain Rolland's Jean Christophe (1904), in an effort to solidify his emerging identity as a writer (Byrd 733).

Toomers experimental novel, Cane (1923), is described as a record of his discovery of his southern heritage, an homage to a folk culture that he believed was evanes cent, and an exploration of the forces that he believed were the foundation for the spiritual fragmentation of his generation (Byrd 733). Although Toomer continued writing after the publication of Cane until the time of his death, he did not have any other works of fiction published during his lifetime (Byrd 733).

After coming under the influence Georgei I. Gurdjieff, a Russian mystic and psychologist, Toomer never returned to depicting African American life (Byrd 733). This change in subject matter could be attributed to Toomers efforts to transcend the narrow divisions of race (Byrd 734). Due to his desire for transcendence of racial boundaries, Toomer's later writings do not employ any racial themes; also this desire led Toomer to disassociate himself from Cane, the work that has earned him a central place in the African American literary tradition (Byrd 734).

Despite Toomer's later rejection of racial themes, many of the Harlem writers were considerably influ enced by Cane, such as Langston Hughes and Zora Neale Hurston. Hurston, the most prolific black woman writer in her lifetime, is the most extraordinary, intriguing, but ultimately tragic, pArticipant in the Harlem Renaissance.

Bibliography

Byrd, Rudolph P. Jean Toomer. The Oxford Companion to African American Literature. Eds. William L. Andrews, Frances Smith Foster, and Trudier Harris. Oxford: Oxford University Press, 1997. 733-734.

Mary Arnold holds a B.A. in literature and history. She is an author on Writing.Com which is located at http://www.Writing.Com/ and is accessible by anyone.

Her writing portfolio may be viewed at http://www.Writing.com/authors/ja77521


Author:: Mary Arnold
Keywords:: Harlem Renaissance, Jean Toomer
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To Fix The Barn

My family has a discussion going on, whether to fix my Uncle Sams old barn. It was a huge old three-story barn, a left over relic when my uncle bought the property he never farmed the property but he kept horses so the building did have some purpose. All of our families except for Uncle Sam were city people. None of us were from around there we came from all over, so to us as kids that barn was a magical place. A three-story playhouse, with stairways ladders trap doors. So large we played Frisbee and even wiffle ball upstairs complete with indoor rope swing. We played hide an go seek and dont know for sure we ever found everyone. So much room the boys would play upstairs and the girls down or vice versa but there was always room for everyone.

Now my Uncle was getting on in age and wanted to move south and the question was is the barn an asset or an eyesore could or should it be repaired? Or should they just tear it down and sell the hand-hewn beams as architectural h eirlooms. When it was built it was an incredible endeavor, easily over a hundred years old hand made with hand tools by craftsmen who put more than sweat in their work with more concerns of more than just payday It was so old and needed so much repair, it would cost a fortune. But should their toil and efforts be torn down to be sold off as just novelties? Wasnt their effort to build such a structure with only their bare hands in the wilderness worthy of note and salvation?

Money we didnt have and couldnt recoup, but we loved the place it was precious to our hearts for us children it was Freedom it was our free country. To adults it was just a dirty old barn they didnt like it was off the muddy path from the house to them it was just a way to keep us out of their hair, a means to and end so it was a ll ours we could do what we liked. I will never get to play there again but if torn down no one will. The children of future generations will miss so much and never taste the Freedom that existed there. Was it past its prime and just too late or could it be saved?

The cynical among us said its just and old barn not worth saving an impediment to their plans and just in the way, to hell with it! They claimed it wasnt safe that barriers and signs should be put up to restrict access to it. Was the structure unsafe? Or did they just envy what they couldnt control? The said it was out of date, obsolete a relic of past glories that the world had moved on and these structures were holding the future back

Some of us saw it only as a resource what we could get out of it, to hell with future generations take the money and run. I in my idealism thought of the joy to have had this place in my life. Didnt I owe anything to future generations? Hadnt they preserved it for me at great expense? I can still close my eyes and think back to those times and remember to feel for just one second what it was like to be free.

The debate goes on, to fix a beautiful old barn a useful structure from an earlier time and return her to her former glory, to tear her down to say her days are done, or just let her collapse under the weight of neglect denial and self interest. But as I close my eyes and think of her now I see in fading paint barely legible on its side in tall letters it said The United States of America


Author:: David Cox
Keywords:: Community, Freedom,
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The Origins of Coats of Arms

Coats of arms, often known as family crests, appeared first in England in the early 1300s and quickly spread throughout Europe. The science of Heraldry was thus established with rules and terms.

Coats of arms were displayed on banners, tabards and, of course, shields. The term coat of arms was derived from the surcoat, a linen garment that was worn over the suit of armour when a nobleman, knight or landowner fought in battle. Surcoat led to the term coat of arms.

Although coats of arms were very decorative, they grew out of a need to identify who was who in battle. Landowners had their own small private armies and took their followers off to battle, particularly during the Crusades. When battle was joined, the suit of armour completely covered the knight who was thus unidentifiable and ris ked an early form of friendly fire! So, to enable their rabbles of followers to identify them and rally to their side, the knights stated to paint symbols on their shields and surcoats.

It is difficult to prevent a good idea from being copied and, before long, what we would now call the middle classes started to produce their own coats of arms. The nobility objected and, at their request, the King sent heralds to try to stamp out unauthorized arms and save them for the privileged few. It was to no avail though, and a compromise was reached that allowed any gentleman to display a coat of arms.

Today many people display a coat of arms in their family name. The prints and shields are much smaller than those displayed in medieval times but so are the houses!

Coats of arms are sometimes referred to as family crests. Technically, the family crest is the part of the arms that is found on top of the helmet. You will often find a family motto shown as part of the c oat of arms. The first mottos appeared around 1660, although not all arms included a motto.

Tony Luck has always been interested in Heraldry. You can learn more about coats of arms at his site.


Author:: Tony Luck
Keywords:: coats of arms, family crests, Heraldry
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The Pearl John Steinbeck Book Review Essay

John Steinbecks The Pearl, starts off by introducing a simple family living by the sea. Kino, a diver whose skills have been pasted down from generation to generation, his young wife Juana, and his son Coyotito who gets bitten by a scorpion and falls deathly ill. At this point in the story the dilemma truly unfolds. Kino goes out the next day to do some diving, ironically he finds a Pearl that seems to be very large and will bring him great wealth, at least thats what he thinks. This part of the story is where things get a little twisted. That morning the doctor was supposed to come over and take a look at Coyotito, instead he did not co me. Then when Kino finds the Pearl the doctor is at his aid very quickly and administers a potion to Coyotito that is supposed to help him with his spasms. Moreover, I feel this is the very first conflict in the story and the first sign of greed that came with the Pearl. Why is it that the doctor did not come that morning? Secondly, why is it that as soon Kino finds the Pearl, the doctor is there in a couple of minutes with a cure, and then non-chalantally asks about paymen t.

Another event that happened to Kino was that one night he decided to bury the Pearl underneath the fire hole in the house, and surprisingly an intruder comes in and there is a fight leading to Kino chasing him away. At this point Juana feels that the Pearl is evil and they should get rid of it.

The following morning another complication occurs. Kino and Juana decide to take the Pearl into town to sell it to get rid of the bad luck that has come with it. All of the dealers knew that Kino was coming and all bid low on the Pearl. Kino then decides to take that Pearl home and then return the next day to sell it at the capital. The next hardship that the Pearl brought them was when Kino is attack by vandals. The turnout leaves Kino killing a man over the Pearl and havin g to hide out at his brother Juan Thomass house because he was afraid of being labeled a murderer. Furthermore, Kino, Juana, and Coyotito all set off on a trail. Kino then notices that he is being traced, so at night Kino decides to attack one of the men, which wakes up another one that has a gun and he fires and kills Kinos son, Coyotito.

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Author:: Michael Cooper
Keywords:: Steinbeck, john Steinbeck, the Pearl, Pearl
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Rousseau Slavery War and Natural Law

Jean-Jacques Rousseau in his writing The Social Contract, (Rousseau), philosophizes on what a civil society entails. Rousseau shows great ability to allow Reason to prevail over manipulation in his political assertions. In the writings Of Slavery section, Rousseau examines the nature of conflicts and alleges that War exists between states and not man. Rousseau applies Reason to the actions of man and claims it to be a requirement for civil society to exist. Following his logic, he surmises that Slavery of individuals and/or whole societies cannot exist in a civil world because this contract would be invalid in the eyes of Reason and nature. I believe Rousseaus ideas are sound in principal and should and some should be incorporated into modern legal doctrines. Natural law works subtly against violators of it by natural methods. This sometimes takes its form in the conscience of people and directs them to act helping to regulate natural order.

Rousseau attempts in his writing to show that there is a higher Reasoning than the conscience of man, and this is verbalized in his statement concerning men who submit into a contract of Slavery voluntarily, for to alienate anothers liberty is contrary to the natural order, (Rousseau 61).

Rousseau continues that Sl avery is a not a valid contract by Reasoning fairness to both parties does not exist, in effect making such an arrangement in the eyes of common sense vain and meaningless (Rousseau, 61).

It is easy enough for slaves to agree with this train of thought; but what is there to make free people or slaveholders to find truth in Rousseaus beliefs?

Rousseaus rhetoric involves presenting scenarios, often the opinions of others, and countering them in accordance to his philosophies. Using Grotius theory on the rationalization for Slavery of the defeated in War, Rousseau briefly looks at these justifications to lay a base of Reasons, creating contrast for his own opinions on which he then elucidates. Grotius held that it is a right of the victor to extirpate, referring to the defeated, he foll owed this argument by concluding that it is within the victors rights to ransom his life at the expense of his liberty(Rousseau, 62).

Grotius elaborates in his book On the Law of War and Peace referring to enslaving losers of War, Nor is the commission of crime requisite to reduce them to this condition, but the fate of all is alike, who are unfortunately taken within the territories of an enemy, upon the breaking out of War (Grotius). Grotius opinions give no merit to moral civility. The ruler or ruling that denies the property and liberty to the individuals of a defeated nation or group is fighting an uphill battle on civility and natural law, forces that are often underestimated by corrupt oppressors. The definition of natural law that I am referring to is well defined in James A. Donalds Natural Law and Natural Rights including Conduct which violates natural law is conduct such that, if a man were to use individual unorganized violence to prevent such conduct, o r, in the absence of orderly society, use individual unorganized violence to punish such conduct, then such violence would not indicate that the person using such violence, (violence in accord with natural law) is a danger to a Reasonable man (Donald).

Donald and I agree that this theory of natural law is embedded in human nature and government policies that go against the ingrained human core morals will always be subject to resistance equaling that to which it is opposed. When evaluating causes and definition of War, one can see that indiscriminate killing and Slavery are direct extensions of War, and being such will always face opposition.

Rousseau goes into some depth on what he considers Reasons for War. He argues that men become enemies through War by accident, further claiming that Wa rs exist over property rather than person (Rousseau, 62). Being so, he argues that a just victor prince, in reflection of his own laws, will respect the lives of his captives and their property as individuals, but not the property of the fallen state. What I find most compelling of Rousseaus points falls in his statement, The object of War being the destruction of the enemy state, a commander has a perfect right to kill its defenders so long as their arms are in their hands: but once they have laid them down and have submitted, they cease to be enemies, or instruments employed by an enemy, and revert to the condition of men, pure and simple, over whose lives no one can any longer exercise a rightful claim (Rousseau, 62). This train of thought is followed in his next paragraph, If War does not give to the victor the right to massacre his defeated enemies, he cannot base upon a nonexistent right any claim to the further one of enslaving them (Rousseau, 63).

I cannot s it back and watch the beating of a defenseless child, I must intervene. This compulsion is a manifestation of natural law. To silently observe without contest the rape of another or the willful destruction of anothers property, the lack of challenge of such actions make the observer a participant by condoning such oppression. As an individual and as part of a nation, I find it an inherent duty to make effort to curtail blatant and excessive practices that would shock the moral conscience of free men by consensus (a method natural law dictates), of nations and individuals alike. Excessive exposure to violations of natural law are used to pacify its predominance by socially conditioning a numbing of mans innate sense to critical violations of natural law by creating overwhelming conditions that can confuse and build tolerance in the morally inclined. The portrayal of Wars conducted by the United States by the media is one example of this infusion of acceptance by overwhel ming viewers with examples of rationalized treachery.

In The Social Contract, Rousseau spells out what he believes are necessary virtues for a civil society to exist. His progressive ideas toWard Slavery contrasted its actual widespread institution. While some would differ from his opinion, his carefully thought and expressed views have been often considered over the 200 years since first being published. Natural law was not invented nor created, it was discovered. Entwined to us since our conception, it is a law, though unwritten and underappreciated, violations of it, even the most encompassing and conniving are guaranteed to face permanent resistance at all points. Practices that do not conflict natural law have more than sum of its parts (supporters), the permanent effects of Reason will f urther these applications.

2005 David Oppenheimer Performance Impressions

Works Cited

Rousseau, Jean-Jacques. The Social Contract. The Origin of Civil Society. A World of Ideas. Ed. Lee A. Jacobus. Boston:Bedford/St. Martins, 2006.

Grotius, Hugo. On the Law of War and Peace. Constitution.org. Book II. Chapter 7, (1) Trans. A. C. Campbell. 21 Sept. 2005 Grotius - On the Law of War and Peace

Natural Law and Natural Rights. Ed. James A. Donald. James's Liberty File Collection Index. 28 Oct. 2005 Natural Law and Rights

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More articles by David Oppenheimer


Author:: David Oppenheimer
Keywords:: Rousse au, David Oppenheimer, War, Reason, Slavery, natural law, the social contract, jean jacques,
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Friday, June 29, 2012

A History Of Lynching

Definition: Lynching is a mob act of vigilantism to illegally execute an accused person by a mob. The term allegedly originated as a reference to a Virginia Justice of the Peace (1736-96). These acts often occurred in front of thousands of spectators, who would gather souvenirs afterward.

Lynching is another sad fact of American history and has been immortalized in song (Strange Fruit, recorded by Billie Holliday, in pictures (the poignant, The Black Book), in a scholarly tome (Ralph Ginzburgs, 100 Years Of Lynchings), and in fiction (In Richard Wright's Big Boy Leaves Home, 1938, Big Boy and his friend Bobo accidentally shoot and kill a white man. The black community fearful of a mass killing spree by whites hide the boys, hoping to help them escape later. However, Bobo is caught and lynched as a frightened Big Boy looks on). .

Lynching was originally a system of punishment used by whites against African-american slaves. It seldom mattered whether the charges were true or not, since it usually camde down to the word of whites against the accused black person.

The accusations against persons lynched, according to the Tuskegee Institute records for the years 1882 to 1951, were: in 41 per cent for felonious assault, 19.2 per cent for rape, 6.1 per cent for attempted rape, 4.9 per cent for robbery and theft, 1.8 per cent for insult to white persons, and 22.7 per cent for miscellaneous offenses or no offense at a 11.5 In the last category are all sorts of trivial offenses such as disputing with a white man, attempting to register to vote, unpopularity, self-defense, testifying against a white man, asking a white woman in marriage, and peeping in a window. (Gibson). However, whites who protested against this were also in danger of being lynched.

Gibson writes, In the last decades of the nineteenth century, the Lynching of Black people in the Southern and border states became an institutionalized method used by whites to ter rorize Blacks and maintain white supremacy. In the South, during the period 1880 to 1940, there was deep-seated and all-pervading hatred and fear of the Negro which led white mobs to turn to lynch law as a means of social control. Lynchingsopen public murders of individuals suspected of crime conceived and carried out more or less spontaneously by a mobseem to have been an American invention. In Lynch-Law, the first scholarly investigation of Lynching, written in 1905, author James E. Cutler stated that Lynching is a criminal practice which is peculiar to the United States.

John F. Callahan states that, Lynching did not come out of nowhere. Its actual and symbolic grounding in history and literature goes back to slavery and slavery's defining persons of African descent as property. During slavery there were numerous public punishments of slaves, none of which were preceded by trials or any other semblance of civil or judicial processes. Justice depended solely upon the slaveholder. Executions, whippings, brandings, and other forms of severe punishment, including sometimes the public separation of families, were meted out by authority or at the command of the master or his representative.

Though the Chicago Times and New York Times derided the practice of Lynching, Other newspapers abetted these efforts, often creating the rationale for the attack. R.W. Logan writes, It is next to impossible to locate a newspaper article that does not identify the victim as a Negro or that refrains from suggesting that the accused was guilty of the crime and therefore deserving of punishment. For example, The New Orleans Picayune described an African-American who was lynched in Hammond, Louisiana for robbery as a big, burly negro and a Black wretch

On November 7th, 1837, Elijah Parish Lovejoy, the white editor of the Alton Observer, was killed by a white mob after he had published articles criticizing Lynching and advocating the Abolition of sl avery. On 9th March, 1892, three African American businessmen were lynched in Memphis. When Ida Wells Barnett (a black woman) wrote an article condemning the lynchers, a white mob destroyed her printing press. They declared that they intended to lynch her but fortunately she was visiting Philadelphia at the time.

It is estimated that between 1880 and 1920, an average of two African Americans a week were lynched in the United States. Dr. Arthur Raper was commissioned in 1930 to produce a report on Lynching. He discovered that 3,724 people were lynched in the United States from 1889 through to 1930. Over four-fifths of these were Negroes, less than one-sixth of whom were accused of rape. Practically all of the lynchers were native whites. The fact that a number of the victims were tortured, mutilated, dragged, or burned suggests the presence of sadistic tendencies among the lynchers. Of the tens of thousands of lynchers and onlookers, only 49 were indicted and only 4 hav e been sentenced.

After the First World War ten black soldiers, several still in their army uniforms, were amongst those lynched. Between 1919 and 1922, a further 239 blacks were lynched by white mobs and many more were killed by individual acts of violence and unrecorded Lynchings. During the 100 year period from 1865 to 1965 over 2400 African Americans were lynched in the United States. 1892 had a record 230 deaths (161 black, 69 white).

According to social economist Gunnar Myrdal: The Southern states account for nine-tenths of the Lynchings. More than two-thirds of the remaining one-tenth occurred in the six states which immediately border the South: Maryland, West Virginia, Ohio, Indiana, Illinois, and Kansas. (Gunnar Myrdal, An American Dilemma, 1944, pp. 560-561).

In 1901George Henry White, the last former slave to serve in Congress, proposed a bill in that would outlaw Lynching, making it a federal crime. He argued that any person participating activ ely in or acting as an accessory in a Lynching should be convicted of treason. White pointed out that Lynching was being used by white mobs in the Deep South to terrorize African Americans. The bill was defeated.

In 1935 President Franklin Roosevelt declined to support the Costigan-Wagner bill, designed to punish sheriffs who failed to protect their prisoners from lynch mobs. He believed he would lose the votes of southern whites and therefore, not be re-elected. In July of that year six deputies were escorting Ruben Stacy to Dade County jail in Miami when he was snatched away by a white mob and hanged outside the home of a white woman named Marion Jones, whom had made a complaint against him. The New York Times reported that a later investigation revealed Stacy Went to the house to ask for food; (and) the woman became frightened and screamed when she saw Stacy's face.

Other Lynchings of note: Scottsboro (1931), James Byrd (1997), Will Brown (Omaha, NE, 1919)

Sources:

Robert L. Langrando, About Lynching.

Richard M. Perloff, The Press and Lynchings of African Americans, Journal Studies, January 2000, pp. 315-330.

R.W. Logan, The Betrayal of the Negro: From Rutherford B. Hayes to Woodrow Wilson, 1965, p. 298.

Robert A. Gibson, The Negro Holocaust: Lynching and Race Riots in the United States,1880-1950, 1979.

James E. Cutler, Lynch Law (New York, 1905), p. 1.

Timothy Stelly is the author of two novels, Tempest In The Stone and The Malice of Cain. He is a contributor to several e-zines and lives in Pittsburg, California.


Author:: Timothy Stelly Sr
Keywords:: Lynching, American History, slavery. Black history, U.S. History, race crimes, Abolition, Racism,
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Art Nouveau A Period of Style & Elegance

The French and the Belgians called it Art Nouveau or the New Art. This period of integrated Art may have been short lasting a mere 24 years from 1890 to 1914, however, the influence of that time has continued to this day. The Artists who were in vogue then are just as much in demand now: Alphonse Mucha; Gustav Klimt; & Henri de Toulouse-Lautrec to name just a few. They were considered ahead of their time then and their Art was regarded as exciting and new.

The Paris World's Fair held in 1900 really was the defining moment for this pArticular Art form as over 50 million people attended. Upon visiting Siegfried Bing's pavilion, their interest and enthusiasm spread. As Art dealer and entrepreneur he had opened a gallery in Paris in 1895 and called it L'Art Nouveau which gave the movement its name. His pavilion was filled with every example of Art Design: wallpaper; fabrics; furniture; jewelry; glassware; and metalwork. Art Nouveau Style could be identified by the flowing and curving lines which were apparent in everyday household items as well as Architecture and furniture. Even women's fashions were created to reflect the new look.

Charles Rennie Macintosh as architect and furniture designer made furniture for specific spaces in the homes that he also designed. His Architecture was so unique that equally unique furniture was required to fill the spaces. The traditional furniture available at the time would have appeared out of place in his homes. When Charles and his close friend, Herbie McNair met Margaret Macdonald and her sister, Frances, a very unusual, romantic and Artistic liaison developed. All had studied Art and would collaborate together on many projects. Together they formed a powerful alliance and were known as the Glasgow Four with far reaching effect. In 1896 they were invited to exhibit at the London Arts and Crafts Society Exhibition. Herbie and Frances married in 1899 and moved to Liverpool. In 1900 Charles and Margaret were married and in the same year Macintosh's architectural masterpiece, The Glasgow School of Art, was begun.

The great Frank Lloyd Wright is a wonderful example of someone who was influenced by the Art Nouveau and Arts & Crafts movements. He designed not only the buildings but also the furniture, stained glass windows and lamps which were an integral pArt of the overall design. His commercial success not to mention his commercial designs for everything from a gas station, places of worship and the Johnson Wax building to the Guggenheim Museum sealed his fate as America's favorite architect and icon of Style! It is lucky for us t hat he was so prolific and left a lasting legacy for all to enjoy and draw inspiration from.

Antoni Gaudi of Spain had a limitless imagination and his buildings are a true testament to his creative energy and individual Style. At first his undulating walls and fantastical creations were not well received as they were too unorthodox. Today, however, he is considered a genius and the irregular lines and one-of-a-kind Architecture have been embraced. Thousands annually visit Barcelona for the sole purpose of seeing Gaudi's Familia Sagrada, Casa Mila & Park Guere.

Architectural Tours

Today, theme tours are very popular and many of the great cities of Europe have specialty tours with an emphasis placed on Art Nouveau Style and Architecture. Regarded by the locals as national treasures which they are only too proud to share and show off, Brussels, Prague and Riga in Latvia all have excellent examples of Art Nouveau design. And, as if you needed an excuse to visit these varied and interesting places, in the case of these cities it is like going to an open air museum. Of course, there are many other locations across Europe which, if you had the time, you would not want to miss; Paris, Vienna, and Turin could easily whet your appetite. This wave of creativity made its way around the world with Europe at the center.

Below is a listing of just some of the Artists and architects of the Art Nouveau period with the cities where they lived or had commissions shown opposite. These are the places one must go in order to really appreciate their genius:

  • Charles Rennie Macintosh/Glasgow & Helen sburgh Scotland
  • Frank Lloyd Wright/New York, Pennsylvania, Wisconsin, USA
  • Antoni Gaudi/ Barcelona, Spain
  • Victor Horta/Brussels, Belgium
  • Hector Guimard/Paris, France
  • Henry van de Velde/Netherlands, Germany
  • Otto Wagner/Vienna, Austria
  • J. M. Olbrich/Vienna, Austria
  • C. Harrison Townsend/London, England
  • Peter Behrens/Darmstadt, Germany
  • Gustav Klimt/Vienna, Austria
  • Alphonse Mucha/Prague, Former Czech Republic
  • Henri de Toulouse-Lautrec/Paris, France

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Author:: Beryl Leavett-Brown
Keywords:: Art nouveau, Art, Architecture, furniture design, Style, Arts & crafts, theme tours,
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