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The symbol of the sword and scales, like many of the symbols adopted in America’s early national period, derives from classical sources and came to be closely identified with the judicial system. It is also used in the rituals of Freemasonry, Odd Fellows, and other fraternal organizations to signify justice. In Freemasonry, the sword and scales symbol is most frequently associated with the Scottish Rite. The Odd Fellows used it in the Fourth Degree before 1882, and in the Third, or Truth, Degree after that date. This prop was probably used by an Odd Fellows lodge, where it is an emblem of “justice which judges with candor and rewards with impartiality.” The scales represent a trial and verdict, and the sword metes out the punishment.

Image: Independent Order of Odd Fellows Sword with Scales, artist unidentified, United States, 1850–1900, paint and gold leaf on wood, with metal. Gift of Kendra and Allan Daniel, 2015.1.60. Photo by José Andrés Ramírez.

 #FolkArtMuseum #AFAMcollection #OddFellows #FLT #justice

2018-09-28 04:21

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The symbol of the sword and scales, like many of the symbols adopted in America’s early national period, derives from classical sources and came to be closely identified with the judicial system. It is also used in the rituals of Freemasonry, Odd Fellows, and other fraternal organizations to signify justice. In Freemasonry, the sword and scales symbol is most frequently associated with the Scottish Rite. The Odd Fellows used it in the Fourth Degree before 1882, and in the Third, or Truth, Degree after that date. This prop was probably used by an Odd Fellows lodge, where it is an emblem of “justice which judges with candor and rewards with impartiality.” The scales represent a trial and verdict, and the sword metes out the punishment. Image: Independent Order of Odd Fellows Sword with Scales, artist unidentified, United States, 1850–1900, paint and gold leaf on wood, with metal. Gift of Kendra and Allan Daniel, 2015.1.60. Photo by José Andrés Ramírez. #FolkArtMuseum #AFAMcollection #OddFellows #FLT #justice

 #AFAMFW continues with @rafsimons's designs set against historic quilts from our collection. @gqstyle wrote of Simons's quilt-heavy 2017 collection for @calvinklein, "We’ve already seen the evolution of the steel-toe cowboy boots, the slow build of western wear, a shift from house dresses on women to murderous, yet ladylike silhouettes. Let's hope Raf Simons continues to masterfully reframe and re-contextualize American history, quilts and all, to carry us into the great, big, unknown future." See our highlighted story "AFAM x CK" to learn how you can join us as we honor Raf at our Fall Benefit Gala on October 2. 
 #FolkArtMuseum #AFAMcollection #RafSimons #CalvinKlein #Americana #fashion #quilts #NYFW #fashionweek

2018-09-27 04:50

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#AFAMFW continues with @rafsimons's designs set against historic quilts from our collection. @gqstyle wrote of Simons's quilt-heavy 2017 collection for @calvinklein, "We’ve already seen the evolution of the steel-toe cowboy boots, the slow build of western wear, a shift from house dresses on women to murderous, yet ladylike silhouettes. Let's hope Raf Simons continues to masterfully reframe and re-contextualize American history, quilts and all, to carry us into the great, big, unknown future." See our highlighted story "AFAM x CK" to learn how you can join us as we honor Raf at our Fall Benefit Gala on October 2. #FolkArtMuseum #AFAMcollection #RafSimons #CalvinKlein #Americana #fashion #quilts #NYFW #fashionweek

‭ This week, our interns met with Sarah Suzuki, curator of drawings and prints @themuseumofmodernart, and took in the exhibition Bodys Isek Kingelez: City Dreams. Kingelez’s vibrant, ambitious sculptures are created from an incredible range of everyday materials and found objects—colored paper, commercial packaging, plastic, soda cans, and bottle caps—all meticulously repurposed and arranged. 
Our Museum Career Internship Program in collaboration with @laguardiacc provides paid internships to students interested in pursuing careers in the arts and fosters diversity and inclusion in the field. 
 #FolkArtMuseum #LaGuardiaCC #museumcareer #internship

2018-09-26 04:55

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‭ This week, our interns met with Sarah Suzuki, curator of drawings and prints @themuseumofmodernart, and took in the exhibition Bodys Isek Kingelez: City Dreams. Kingelez’s vibrant, ambitious sculptures are created from an incredible range of everyday materials and found objects—colored paper, commercial packaging, plastic, soda cans, and bottle caps—all meticulously repurposed and arranged. Our Museum Career Internship Program in collaboration with @laguardiacc provides paid internships to students interested in pursuing careers in the arts and fosters diversity and inclusion in the field. #FolkArtMuseum #LaGuardiaCC #museumcareer #internship

 #NYFW may be over but #AFAMFW is just beginning! 💃 As we get ready to honor @rafsimons at our Fall Benefit next Tuesday, we're highlighting the most fashionable folks in our permanent collection. Still haven't purchased your ticket? Click the link in our profile to reserve your spot or bid in our silent auction. All proceeds fund the museum and its acclaimed educational programs. ✨ Dressed pictures like the one shown here are not to be confused with tinsel paintings; they are collages on paper or cardboard that often include metallic foil. First appearing in France in the 18th century and in England at the beginning of the 19th century, "dressed engravings" or "gravures découpées" often depicted theatrical or royal figures, frequently shown as caricatures.

Image: Dressed Picture of Two Women, Urn of Flowers, and Starry Sky, artist unidentified, United States, c. 1890–1920, metal foils, metal mesh, and paint on cardboard. Gift of Susan and Laurence Lerner, 2009.13.68. Photo by Gavin Ashworth.

 #FolkArtMuseum #AFAMcollection #AFAMGala #RafSimons #CalvinKlein #fashion #fashionweek

2018-09-25 01:10

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#NYFW may be over but #AFAMFW is just beginning! 💃 As we get ready to honor @rafsimons at our Fall Benefit next Tuesday, we're highlighting the most fashionable folks in our permanent collection. Still haven't purchased your ticket Click the link in our profile to reserve your spot or bid in our silent auction. All proceeds fund the museum and its acclaimed educational programs. ✨ Dressed pictures like the one shown here are not to be confused with tinsel paintings; they are collages on paper or cardboard that often include metallic foil. First appearing in France in the 18th century and in England at the beginning of the 19th century, "dressed engravings" or "gravures découpées" often depicted theatrical or royal figures, frequently shown as caricatures. Image: Dressed Picture of Two Women, Urn of Flowers, and Starry Sky, artist unidentified, United States, c. 1890–1920, metal foils, metal mesh, and paint on cardboard. Gift of Susan and Laurence Lerner, 2009.13.68. Photo by Gavin Ashworth. #FolkArtMuseum #AFAMcollection #AFAMGala #RafSimons #CalvinKlein #fashion #fashionweek

Trained in industrial and furniture design, @rafsimons became a self-taught menswear designer before launching his own label in 1995. Since joining @calvinklein as Chief Creative Officer in 2016, Belgium-born Simons has been at the helm of the brand’s creative vision, including infusing his cinematic outsider’s take on Americana into the brand’s DNA. Under his creative direction, the American quilt has become a new visual language for Calvin Klein. @afamuseum is thrilled to honor Simons at our Fall Benefit Gala on October 2, along with Elyse and Lawrence B. Benenson and @wunschcollection. For tickets, tables, and to bid in our silent auction, please click the link in our profile. 
 #FolkArtMuseum #AFAMGala #RafSimons #CalvinKlein #quilts #fashion #Americana

2018-09-24 00:17

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Trained in industrial and furniture design, @rafsimons became a self-taught menswear designer before launching his own label in 1995. Since joining @calvinklein as Chief Creative Officer in 2016, Belgium-born Simons has been at the helm of the brand’s creative vision, including infusing his cinematic outsider’s take on Americana into the brand’s DNA. Under his creative direction, the American quilt has become a new visual language for Calvin Klein. @afamuseum is thrilled to honor Simons at our Fall Benefit Gala on October 2, along with Elyse and Lawrence B. Benenson and @wunschcollection. For tickets, tables, and to bid in our silent auction, please click the link in our profile. #FolkArtMuseum #AFAMGala #RafSimons #CalvinKlein #quilts #fashion #Americana

Happy #firstdayoffall and #autumnalequinox! 🍁 This crisp view of a prosperous Berks County farmstead, with its pristine, fenced fields, clean, swept yards, and brightly painted buildings, presents an idyllic picture of agrarian life. The controlled environment extends from rolling fields into the distant hills and adjoining farm, with a network of interlacing fields illustrating the cadence and cycle of seasonal crop production, harvest, grazing meadows, and freshly plowed land lying fallow, awaiting planting. The predictable, patterned order, further assured by the promise of continued progress with the arrival of the railroad to the region, depicts a safe and secure world that the painter John Rasmussen could only imagine and one he may have hoped to achieve through his paintings.

Image: Berks County Farmscape, John Rasmussen (1828–1895), Pennsylvania, United States, c. 1879–1886, oil on zinc-plated tin. Gift of Ralph Esmerian, 2005.8.15. Photographer unidentified.

 #FolkArtMuseum #AFAMcollection #folkart #selftaughtartist #oilpainting #19thcentury

2018-09-23 04:14

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Happy #firstdayoffall and #autumnalequinox! 🍁 This crisp view of a prosperous Berks County farmstead, with its pristine, fenced fields, clean, swept yards, and brightly painted buildings, presents an idyllic picture of agrarian life. The controlled environment extends from rolling fields into the distant hills and adjoining farm, with a network of interlacing fields illustrating the cadence and cycle of seasonal crop production, harvest, grazing meadows, and freshly plowed land lying fallow, awaiting planting. The predictable, patterned order, further assured by the promise of continued progress with the arrival of the railroad to the region, depicts a safe and secure world that the painter John Rasmussen could only imagine and one he may have hoped to achieve through his paintings. Image: Berks County Farmscape, John Rasmussen (1828–1895), Pennsylvania, United States, c. 1879–1886, oil on zinc-plated tin. Gift of Ralph Esmerian, 2005.8.15. Photographer unidentified. #FolkArtMuseum #AFAMcollection #folkart #selftaughtartist #oilpainting #19thcentury

“You may know your business, but no one else will if you don’t advertise,” Miles Carpenter at one time opined. Carpenter advertised his roadside ice, soda-pop, and vegetable stand in Waverly, Virginia, by creating a menagerie of idiosyncratic, funky, and humorous sculptures of animals and people. Both an additive and subtractive sculptor (he constructed as well as carved his work), Carpenter explored a variety of methods and modes of working for nearly thirty years in order to achieve his artistic goals. The result is a range of expressions, from realistic carved renderings of watermelons to wild and outlandish root sculptures. Using roots as the basic understructure for sculpture is actually quite common for self-taught artists, though the intentions, motivations, and reasons for using roots is wide and varied.

This ambitious “root monster” is humorous and dynamic. Most museum visitors have learned how Michelangelo, a carver in stone, allowed the material to bring out the figure hidden inside. Miles Carpenter seems to echo this process, once recalling, “There’s something in there, under the surface of every piece of wood. You don’t need no design ‘cause it’s right there, you just take the bark off, and if you do it good, you can find something.” Text: Brooke Davis Anderson, "Beast," exhibition label for Folk Art Revealed. Stacy C. Hollander and Brooke Davis Anderson, curators. New York: American Folk Art Museum, 2004.

Image: Beast, Miles Carpenter (1889–1985), Waverly, Virginia, United States, after 1966, paint on wood with rubber ears. Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard, Jr., 1998.10.14. Photo by Gavin Ashworth. 
 #FolkArtMuseum #AFAMcollection #roadsideattraction #midcentury #selftaughtartist

2018-09-21 04:53

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“You may know your business, but no one else will if you don’t advertise,” Miles Carpenter at one time opined. Carpenter advertised his roadside ice, soda-pop, and vegetable stand in Waverly, Virginia, by creating a menagerie of idiosyncratic, funky, and humorous sculptures of animals and people. Both an additive and subtractive sculptor (he constructed as well as carved his work), Carpenter explored a variety of methods and modes of working for nearly thirty years in order to achieve his artistic goals. The result is a range of expressions, from realistic carved renderings of watermelons to wild and outlandish root sculptures. Using roots as the basic understructure for sculpture is actually quite common for self-taught artists, though the intentions, motivations, and reasons for using roots is wide and varied. This ambitious “root monster” is humorous and dynamic. Most museum visitors have learned how Michelangelo, a carver in stone, allowed the material to bring out the figure hidden inside. Miles Carpenter seems to echo this process, once recalling, “There’s something in there, under the surface of every piece of wood. You don’t need no design ‘cause it’s right there, you just take the bark off, and if you do it good, you can find something.” Text: Brooke Davis Anderson, "Beast," exhibition label for Folk Art Revealed. Stacy C. Hollander and Brooke Davis Anderson, curators. New York: American Folk Art Museum, 2004. Image: Beast, Miles Carpenter (1889–1985), Waverly, Virginia, United States, after 1966, paint on wood with rubber ears. Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard, Jr., 1998.10.14. Photo by Gavin Ashworth. #FolkArtMuseum #AFAMcollection #roadsideattraction #midcentury #selftaughtartist

After the Revolutionary War, Duxbury, Massachusetts, became a center of the shipbuilding industry largely through the efforts of leading citizens Joshua Winsor, his brother Nathaniel, Ezra Weston Sr., and Samuel Delano. By 1787 sixty-four Great Banks fishing vessels were in commission, and the Winsors were successfully engaged in mackerel and cod fishing; theirs were the first wharves to be built in Duxbury specifically for business. It was during this period of achievement that Joshua Winsor chose to have his extensive properties documented by Rufus Hathaway, a young artist who rode through town in 1793, when he painted at least ten portraits of the Weston family, and again in 1795, when he portrayed Winsor’s daughters. Soon after his marriage to Judith Winsor later that year, Hathaway studied to become a physician, and although his primary occupation thereafter was medicine, his creativity continued to find expression in paint and poetry.

Image: A View of Mr. Joshua Winsor's House & c., Rufus Hathaway (1770–1822), Duxbury, Massachusetts, United States, 1793–1795, oil on canvas, in original painted wood frame. Gift of Ralph Esmerian, 2013.1.19. Photographer unidentified. 
 #FolkArtMuseum #AFAMcollection #folkart #selftaughtartist #18thcenturyart

2018-09-20 04:40

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After the Revolutionary War, Duxbury, Massachusetts, became a center of the shipbuilding industry largely through the efforts of leading citizens Joshua Winsor, his brother Nathaniel, Ezra Weston Sr., and Samuel Delano. By 1787 sixty-four Great Banks fishing vessels were in commission, and the Winsors were successfully engaged in mackerel and cod fishing; theirs were the first wharves to be built in Duxbury specifically for business. It was during this period of achievement that Joshua Winsor chose to have his extensive properties documented by Rufus Hathaway, a young artist who rode through town in 1793, when he painted at least ten portraits of the Weston family, and again in 1795, when he portrayed Winsor’s daughters. Soon after his marriage to Judith Winsor later that year, Hathaway studied to become a physician, and although his primary occupation thereafter was medicine, his creativity continued to find expression in paint and poetry. Image: A View of Mr. Joshua Winsor's House & c., Rufus Hathaway (1770–1822), Duxbury, Massachusetts, United States, 1793–1795, oil on canvas, in original painted wood frame. Gift of Ralph Esmerian, 2013.1.19. Photographer unidentified. #FolkArtMuseum #AFAMcollection #folkart #selftaughtartist #18thcenturyart

Children ages 4 to 12 and their guardians are invited to join us this Saturday at 1 pm for Families and Folk Art: The Botanist's Eye, a hands-on artmaking program, which is free to register for via the link in our profile. We'll learn about Orra White Hitchcock, one of America’s first female scientific illustrators. As a botanist, she loved observing the natural world around her in the Connecticut River Valley, where she foraged mushrooms, collected and identified plant species, and drew beautiful illustrations of her discoveries. Participants will explore and discuss the artist’s Herbarium and Fungi albums, drawing inspiration from these objects and a diversity of plant specimens to create watercolor paintings that document the natural world around us. This program is part of @afamuseum's participation in @smithsonianmagazine's #MuseumDay, an annual celebration of boundless curiosity. This year's theme is #WomenMakingHistory! 
 #FolkArtMuseum #AFAMprograms #OrraWhiteHitchcock #ChartingtheDivinePlan #scientificillustration #19thcentury #womenshistory

2018-09-18 19:19

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Children ages 4 to 12 and their guardians are invited to join us this Saturday at 1 pm for Families and Folk Art: The Botanist's Eye, a hands-on artmaking program, which is free to register for via the link in our profile. We'll learn about Orra White Hitchcock, one of America’s first female scientific illustrators. As a botanist, she loved observing the natural world around her in the Connecticut River Valley, where she foraged mushrooms, collected and identified plant species, and drew beautiful illustrations of her discoveries. Participants will explore and discuss the artist’s Herbarium and Fungi albums, drawing inspiration from these objects and a diversity of plant specimens to create watercolor paintings that document the natural world around us. This program is part of @afamuseum's participation in @smithsonianmagazine's #MuseumDay, an annual celebration of boundless curiosity. This year's theme is #WomenMakingHistory! #FolkArtMuseum #AFAMprograms #OrraWhiteHitchcock #ChartingtheDivinePlan #scientificillustration #19thcentury #womenshistory

This throw in the Log Cabin pattern was begun by Harriet Rutter in 1875, the year she married William Eagleson, but was never finished. It is a fascinating surface study in unpredictability within symmetry. The large dark squares-on-point dominate the visual field, but concentric squares emerge and interrupt the surface through masterful manipulations of bright and somber fabrics in each block. A native New Yorker, Eagleson was numbered among the students at the first New York City high, or normal, school for females. Known as the Twelfth Street girls, many of the students went on to form the first classes at Hunter College, founded in 1870. In 1949, 94-year-old Harriet Rutter Eagleson was celebrated as the oldest living graduate of Hunter College class of 1871. To this day a scholarship endowed in her name supports the academic work of Hunter College students.

Text: Stacy C. Hollander, "Log Cabin Throw, Light-and-Dark Variation," exhibition label for alt_quilts: Sabrina Gschwandtner, Luke Haynes, Stephen Sollins. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2013.

Image: Log Cabin Throw, Light-and-Dark Variation, Harriet Rutter Eagleson (1855–1950), New York City, New York, United States, 1875–1880, silk and cotton. Gift of Miss Jessica R. Eagleson, 1979.18.1. Photo by Gavin Ashworth.

2018-09-18 04:45

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This throw in the Log Cabin pattern was begun by Harriet Rutter in 1875, the year she married William Eagleson, but was never finished. It is a fascinating surface study in unpredictability within symmetry. The large dark squares-on-point dominate the visual field, but concentric squares emerge and interrupt the surface through masterful manipulations of bright and somber fabrics in each block. A native New Yorker, Eagleson was numbered among the students at the first New York City high, or normal, school for females. Known as the Twelfth Street girls, many of the students went on to form the first classes at Hunter College, founded in 1870. In 1949, 94-year-old Harriet Rutter Eagleson was celebrated as the oldest living graduate of Hunter College class of 1871. To this day a scholarship endowed in her name supports the academic work of Hunter College students. Text: Stacy C. Hollander, "Log Cabin Throw, Light-and-Dark Variation," exhibition label for alt_quilts: Sabrina Gschwandtner, Luke Haynes, Stephen Sollins. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2013. Image: Log Cabin Throw, Light-and-Dark Variation, Harriet Rutter Eagleson (1855–1950), New York City, New York, United States, 1875–1880, silk and cotton. Gift of Miss Jessica R. Eagleson, 1979.18.1. Photo by Gavin Ashworth.

While we now appreciate the work of J. B. Murray for its artistic qualities, the artist himself made art strictly for spiritual and protective purposes; his abstract script formed thoughts that were like prayers, providing guidance and offering support to readers. When he first began painting, Murray executed his images on found objects and drew on cash register tape. His doctor, William Rawlings, gave Murray fine art paper and pigments after the artist shared one of his paintings with him. Even though the material was new to him, the motivation was the same. J. B. Murray was a preacher, and his artworks held messages. To interpret these divine messages, the artist would sometimes hold a glass bottle full of water up to the painted surfaces and conduct a sermonlike reading.

Murray came to artmaking late. He lived his entire life in Georgia, where he earned a living as a sharecropper and raised eleven children with his wife. After his children left the family home, one by one, Murray started having visions and began to write "in the spirit." His abstract passages are like painted versions of the experience known as speaking in tongues. The fervor of his technique, the lyrical lines that only he could translate, the obsessive output—all have a transcendental quality. Murray's sophisticated abstract expression is rare in a field in which most creators are more literal storytellers.

Image: Spirit Water, John Bunion (J. B.) Murray (1908–1988), Sandersville, Georgia, United States, late twentieth century, glass bottle, metal lid, and water. Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard, Jr., 1998.10.34. Photo by John Parnell.

 #FolkArtMuseum #AFAMcollection #JBMurray #visionaryart #20thcenturyart

2018-09-17 04:54

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While we now appreciate the work of J. B. Murray for its artistic qualities, the artist himself made art strictly for spiritual and protective purposes; his abstract script formed thoughts that were like prayers, providing guidance and offering support to readers. When he first began painting, Murray executed his images on found objects and drew on cash register tape. His doctor, William Rawlings, gave Murray fine art paper and pigments after the artist shared one of his paintings with him. Even though the material was new to him, the motivation was the same. J. B. Murray was a preacher, and his artworks held messages. To interpret these divine messages, the artist would sometimes hold a glass bottle full of water up to the painted surfaces and conduct a sermonlike reading. Murray came to artmaking late. He lived his entire life in Georgia, where he earned a living as a sharecropper and raised eleven children with his wife. After his children left the family home, one by one, Murray started having visions and began to write "in the spirit." His abstract passages are like painted versions of the experience known as speaking in tongues. The fervor of his technique, the lyrical lines that only he could translate, the obsessive output—all have a transcendental quality. Murray's sophisticated abstract expression is rare in a field in which most creators are more literal storytellers. Image: Spirit Water, John Bunion (J. B.) Murray (1908–1988), Sandersville, Georgia, United States, late twentieth century, glass bottle, metal lid, and water. Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard, Jr., 1998.10.34. Photo by John Parnell. #FolkArtMuseum #AFAMcollection #JBMurray #visionaryart #20thcenturyart

As part of this Monday's symposium Exploring the Poetical Sciences: The Story of Edward and Orra White Hitchcock, we got a special behind-the-scenes look at the work of paleontologist Dr. Melanie Hopkins at @amnh! Head to our IGTV channel to learn about Dr. Hopkins's research into trilobites, then click the link in our profile to register for the panel, which will examine the lives and work of the Hitchcocks through different lenses, including poetry, geology, and paleontology. Join us Monday, September 17 from 10 am to 3 pm for Exploring the Poetical Sciences. Dr. Hopkins will present “The Hitchcocks and Mid-Nineteenth-Century Paleontology in the United States" at 1:45 pm. Hope to see you there! 🐚
 #FolkArtMuseum #AMNH #OrraWhiteHitchcock #ChartingtheDivinePlan 
Image: Invertebrate Fossils, Orra White Hitchcock (1796–1863), Amherst, Massachusetts, 1828–1840, pen and ink and watercolor wash on cotton, with woven tape binding. Amherst College Archives & Special Collections.

2018-09-16 00:27

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As part of this Monday's symposium Exploring the Poetical Sciences: The Story of Edward and Orra White Hitchcock, we got a special behind-the-scenes look at the work of paleontologist Dr. Melanie Hopkins at @amnh! Head to our IGTV channel to learn about Dr. Hopkins's research into trilobites, then click the link in our profile to register for the panel, which will examine the lives and work of the Hitchcocks through different lenses, including poetry, geology, and paleontology. Join us Monday, September 17 from 10 am to 3 pm for Exploring the Poetical Sciences. Dr. Hopkins will present “The Hitchcocks and Mid-Nineteenth-Century Paleontology in the United States" at 1:45 pm. Hope to see you there! 🐚 #FolkArtMuseum #AMNH #OrraWhiteHitchcock #ChartingtheDivinePlan Image: Invertebrate Fossils, Orra White Hitchcock (1796–1863), Amherst, Massachusetts, 1828–1840, pen and ink and watercolor wash on cotton, with woven tape binding. Amherst College Archives & Special Collections.

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