Mary Edmonia Lewis: Art, Gender, and Ethnicity - Thesis Proposal Example

Running head: MARY EDMONIA LEWIS Mary Edmonia Lewis: Art, Gender, and Ethni MARY EDMONIA LEWIS 2 Mary Edmonia Lewis: Art, Gender, and Ethnicity The research aims to study Mary Edmonia Lewis’ works and impact on the development of western civilization. It is a personal interest to research on Lewis as the famous sculptor is from a similar descent --- Indian American --- mixed with African American race. It is well-known that several courageous women paved their way into history by standing up for beliefs that were considered unacceptable during their times.

For Lewis, her works of art not only gave a new dimension into the field of sculpture, but the success she achieved also demonstrates that she is a woman who struggled against the biases of the society during her time, and succeeded against them (Appiah & Gates, 2005, p.1154). To gain further understanding of Lewis’ works, below is a brief analysis of the ideas she communicated through her sculptures. Some of her works were drawn from her personal heritage and experiences. Lewis initially sculpted clay medallions of white anti-slavery leaders.

The finished works were well received (Harris, 2000, p.14). There is also a sculpture of a Native-American couple on their wedding called “The Marriage of Hiawatha.” Another sculpture is that of Longfellow called “Bust of Henry Wadsworth Longfellow.” Lewis chose Longfellow because of his poem “Song of Hiawatha” which served as an inspiration to Lewis. Also, one of her most famous works is a sculpture done in 1867 called “The Old Indian Arrow Maker and his Daughter.” Aside from these mentioned, there are other works that obviously spoke of Lewis’ life , beliefs, and her love for her heritage.

Some other samples are the “"Bust of Minnehaha” that seems to express dignity despite the inevitable fate (Holland, 2000, p.47), the “Hagar” that serves as a symbol for all the women who experienced struggle and suffering, and the “Forever Free” that depicts an African-American freed slave and his child. Her works are now considered treasures, showing how she won freedom by her artistry (Peck, 2007, p.13). MARY EDMONIA LEWIS 3 References Appiah, A., & Gates, H. L. (2005). Africana: The encyclopedia of the African and African American experience.

New York: Oxford University Press, 1154. Durgans, C. E. (January 01, 1995). Edmonia Lewis. National Afro-American Museum and Cultural Center Newsletter, 6. Green, R. L., & Love-Carroll, D. M. (1996). A salute to historic Black women. Chicago: Empak Pub. Co., 16 Harris, J. (2000). The Black-Indian connection in art: American portraits, soulscapes and spirit works. Hampton, Va: Hampton University Museum, 3-40 Holland, J. M. (January 01, 2000). Mary Edmonia Lewis's Minnehaha: Gender, race and the "Indian maid.". Diaspora and Visual Culture: Representing Africans and Jews, 45-56.

National Museum of American Art (U.S.). (January 01, 1995). Edmonia Lewis. National Museum of American Art, 62. Niatum, D. (2005). A blackbird in the White Marmorean flock: Edmonia Lewis, sculptor of the American temperament. Seattle, WA: Duane Niatum. Peck, P. C. (January 01, 2007). CASTING THE FIRST STONE - Patricia Cleveland Peck introduces Edmonia Lewis, a 19th-century black American sculptress, who succeeded against the odds at the height of the US Civil War. History Today, 57, 10, 13.