the Augusta Museum of History

and the Morris Museum of Art

GEORGIA STUDIES images and artifacts

study guide for the 8th grade

Updated copies are available at the Morris Museum of Art web site: www.themorris.org

Funding provided by a grant from the International Paper Company Foundation

January 2001

Georgia Studies 8th Grade

Table of Contents

Letter to the Teacher

Themes, Images, and Artifacts

Introductory Questions

Vocabulary

Pre-visit Activities Activity 1, Part A: Different (Brush) Strokes Part B: Historical Perspective Activity 2, A Visual Family Tree

Worksheet 1, Using a Painting as a Primary Source Worksheet 2, Interview Worksheet 3, Using a Photograph as a Primary Source

Post-visit Activities Activity 3, Historical Perspective: Compare and Contrast Activity 4, Historical Events Activity 5, Stepping into History

Artists’ Biographies

Glossary of Art Terms

Glossary of History Terms

Bibliographies Southern Art Augusta’s Story

List of Transparencies included in the Resource Packet

Packet Evaluation

Resources (Available in your school’s media center) Augusta Remembers (video) Augusta: A Postcard History (book) The Dot Man: George Andrews (video) The Dot Man: George Andrews of Madison, Georgia (book) The Last Radio Baby (book) Envelope of 6 Transparencies “Augusta Canal” (pamphlet)

Dear Teacher: Georgia Studies: Images and Artifacts is a collaborative effort by the Morris Museum of Art and the Augusta Museum of History to bring Georgia history to life for schoolchildren in the Central Savannah River area through the presentation and interpretation of images and artifacts in the two museums. The program is correlated with state-established curriculum guidelines for Georgia social studies. The education departments of the museums have prepared this teaching packet to enrich your Georgia Studies tour. We have included information that we hope will make your tour go smoothly. Also, we have prepared interdisciplinary activities and lesson plans. Please choose those activities that will fit your needs and your time constraints. The better students are prepared before their visit, the more meaningful the tour will be. Goals for the Georgia Studies Program: • To provide students with an interdisciplinary educational experience through

the use of images and artifacts in the two museums. • To correlate the museum visits with school curricula and the state of

Georgia’s Quality Core Curriculum standards. • To make the experience relevant to the lives of the students. Tour Overview: You and your students will visit one museum for 45 minutes, have a 30 minute break to travel between museums, and then visit the other museum for 45 minutes. A major focus for the tour for 8th grade students is the importance of cotton to the economy of Georgia. Enjoy your visit to the Augusta Museum of History and the Morris Museum! If you have any questions, please contact either of us. Sincerely, Amy Gerhard Drew Brown Director of Education Associate Curator, Education Services Augusta Museum of History Morris Museum of Art Phone: (706) 722-8454 Phone: (706) 724-7501

Georgia Studies 8th Grade

Themes, Images and Artifacts Themes, images, and artifacts that will be explored in Georgia Studies: The Savannah River

River Plantation (painting by Thomas Addison Richards) The River (painting by Edward Rice) Petersburg boat Stallings Island Indian diorama

The Civil War Surprise Attack Near Harper’s Ferry (painting by John A. Mooney) secession flag Confederate Powderworks drawing Civil War cannon made by Augusta Foundry & Machineworks

Cotton

From this Earth (painting by Lamar Dodd) spinning wheel/clock reel/loom Henry Holmes cotton gin

Daily Life This is the Andrews Family (painting by George Andrews) Southern Landscape (painting by Benny Andrews) colonial cradle Antebellum kitchen photo of cotton mill workers Richmond Academy uniform

Important Georgians James Oglethorpe George Walton Lucy Craft Laney Susan Still

* For more information about the artworks listed above, see artist biographies.

Georgia Studies 8th Grade

Introductory Questions

Please review the following questions and answers with your students before your visits to the Augusta Museum of History and the Morris Museum of Art. They will provide a background for viewing the artifacts and art in each museum.

What and where is the “fall line”? Just north of Augusta, the highlands of the Piedmont meet the lowlands of the coastal plain at what is called the “fall line.” This “fall line” was the Atlantic Ocean’s shoreline of early prehistoric times.

What happens to the Savannah River at the “fall line”? At the “fall line” where the Piedmont meets the coastal plain, the river crosses over a rock shelf. This seven-mile stretch of river is very rocky and shallow and this makes it easy to walk across the river and difficult to go up or down the river in a boat.

Why did the Indians settle in Augusta? The animals of the late Ice Age crossed the river here because the “fall line” created several miles of rocky shallows. The Indians, or Native Americans, followed the animals for food and clothing. Because Augusta is a natural crossroads, it became a gathering point for travel and trade and, therefore, an ideal place to conduct business and live.

Why was Georgia founded? In 1732, General James E. Oglethorpe received a charter from the British Parliament to establish an English colony (Georgia) to protect Carolina from Spanish Florida and French Louisiana and to offer poor but deserving Englishmen a fresh start in the New World. Why was Augusta established? In 1736, General James E. Oglethorpe established Augusta to serve as a trading post with the Indians and to serve as an inland fort to protect coastal Georgia.

Why was the river important to the cotton industry? Augusta’s location at the headwaters of navigation on the Savannah River made the city an inland commercial hub serving both Georgia and South Carolina.

How did the Augusta Canal contribute to Augusta as a manufacturing center? The canal provided easier transportation of cotton, in addition to supplying waterpower for cotton textile mills. The waterpower from the canal made Augusta one of the few southern manufacturing centers. How do artists give the illusion of deep space on a flat surface? They overlap objects, make distant objects smaller, and place distant objects higher on the page. Also, artists use linear perspective and atmospheric perspective. (These terms are defined in the vocabulary.)

Georgia Studies 8th Grade

Vocabulary • artifact Any object (or the remains of one) made

by humans.

• atmospheric perspective The representation of space in a drawing or painting by making objects appear distant by blurring outlines, by showing less detail, and by making colors lighter and cooler.

• boll weevil A snout beetle that attacks the bolls or flowers of cotton.

• economy The management of affairs, as of a nation, a community, or a business, so as to keep down expenses while keeping up values, productiveness, and income.

• fall line An imaginary line, marked by waterfalls and rapids, where rivers descend abruptly from an upland to a lowland.

• immigrant A person who migrates to another country, usually for permanent residence.

• linear perspective A system of drawing or painting that gives the illusion of depth.

• primary source A firsthand or original account of historical facts.

Georgia Studies 8th Grade

Pre-visit Activities A Note to the Teacher: The two activities planned for students to do before their museum visits integrate social studies, language arts, and visual art. In addition, Howard Gardner’s Theory of Multiple Intelligences is incorporated. After a short description of each activity, you will find Quality Core Curriculum standards for social studies. We have selected only the most obvious ones. You may find other standards that are covered in the activities. Activity 1: Thinking Two Ways: Comparing and Contrasting. It consists of two parts: Part A, “Different (Brush) Strokes,” which compares and contrasts two paintings of the Savannah River and their artists, and Part B, “Historical Perspective,” which compares and contrasts various historical artifacts, events, and ideas. The relevant QCC standards in Social Studies are as follows: Information Processing: 8.27 Distinguishes between primary and secondary sources. 8.28 Analyzes artifacts. 8.29 Analyzes interpretations of the same event from multiple types of

sources. 8.39 Formulates questions related to the topic. 8.40 Determines adequacy, relevancy and consistency of information for

justifying conclusions or generalizations. Problem Solving Skills: 8.22 Collects evidence using reliable, appropriate data. Time and Chronology: 8.30 Uses indefinite time concepts as past, future, meanwhile. Activity 2: A Visual Family Tree highlights family history. It relates family events to events that took place in the history of Georgia. Also, its various components teach certain “fact gathering” skills, such as looking at artwork and photographs and interviewing to obtain oral histories. The relevant QCC standards in Social Studies are as follows: Information Processing: 8.27 Distinguishes between primary and secondary sources and determines

respective uses. 8.28 Analyzes artifacts. 8.29 Analyzes interpretations of the same events from multiple types of

sources. 8.39 Formulates questions related to the topic. 8.40 Determines adequacy, relevancy and consistency of information for

justifying conclusions or generalizations.

Problem Solving Skills: 8.22 Collects evidence using reliable, appropriate data. Civic Participation: 8.13 Obtains information by asking appropriate questions in interviews.

Activity 1 Part A

Different (Brush) Strokes Focus: The students will compare and contrast two paintings of the Savannah River. The two paintings are River Plantation by Thomas Addison Richards and The River by Edward Rice. The students will compare and contrast the lives of the artists prior to the museum visit, observe the two paintings at the museum, and complete a worksheet after the visit. The artist biographies and newspaper articles included in this packet are good resources for this project. Objectives: 1. Students will collect information about artists Thomas Addison Richards and

Edward Rice through assigned readings. 2. Students will write a short essay that compares the lives of the two artists. 3. Students will compare and contrast two works of art. Materials needed: Student copies of worksheet, newspaper articles and artist biographies (single copy provided of each in this packet). Procedures: 1. View the reproductions of River Plantation and The River in the classroom.

Identify the artists as the creators of these paintings. 2. Direct students to read the newspaper articles and artist biographies. During

a class discussion, create a list of points of comparison between the two artists, such as place and year of birth, education and training, and significant teachers.

3. Ask students to prepare a short essay (length to be determined by teacher) that compares and contrasts the lives of these two artists based on the points discussed in class.

4. Visit the museum with students. Direct students to carefully observe the two paintings.

5. After your museum visit, direct students to complete the worksheet, “Different (Brush) Strokes.”

Evaluation: 1. Did the students’ essays cover all the discussed points of comparison in

regards to the lives of the artists? 2. In their essays, did the students make appropriate comparisons based on the

information provided in the resources? Did the students properly cite the original sources of information?

3. Did the students’ completed worksheets reflect careful and thoughtful observation of the two paintings, an understanding of the sensory and formal properties of art and a justification for their preference of a particular painting?

Activity 1 Part A

Student Worksheet Different (Brush) Strokes

In this activity you will compare and contrast two paintings of the Savannah River by different artists. Both artists lived and painted in Augusta, but at different time periods. Thomas Addison Richards painted River Plantation around 1855–1860; Edward Rice painted The River in 1994. Using the inquiry method of art criticism, look at how these artworks are alike and how they are different. Information about the sensory properties is best gathered at the museum. Other information may be gathered from research. 1. First look at the subject matter in the paintings. This is similar to an inventory

in that you simply make a list of what you see.

Using a Venn diagram, show how the subject matter in these paintings is alike and how it is different.

2. Now look at the sensory properties of the paintings. The sensory properties

are line, shape, color, texture, value, and space. Make a Venn diagram showing similarities and differences in the sensory properties of the two paintings.

3. Next, compare and contrast the formal properties of the two paintings. The formal properties are balance, repetition, movement, center of interest, contrast, and unity. Again, use a Venn diagram to organize your answers.

4. Now that you have carefully analyzed both artists’ paintings, how would you

interpret them? What kind of mood or idea do you think each artist was trying to communicate?

5. Why do you think artists who painted over 144 years apart chose the river as their subject?

6. Which painting do you like best? Why?

Activity 1 Part B

Historical Perspective 1. Using the attached timeline, look up the dates for the events already marked.

Then mark the dates for your birth year, the year one of your parents was born, and the year one of your grandparents was born. You will be adding more events and dates after your museum tours.

2. This exercise can be a teacher-led discussion, done in small groups, or done

individually. If it is done as a small group, the group can research one question and report to the class or answer all the questions.

During both museum tours, you will be learning about the Savannah River. Here are some questions to think about before your visits. What and where is the “fall line”? Why did the Indians settle in Augusta? Why was Augusta the second settlement in Georgia? Why was the river important to the cotton industry? How did the Augusta Canal contribute to Augusta as a manufacturing center? Why do you think artists who painted over 144 years apart, chose the river as their subject? Compare how the river was used in the 18th and 19th centuries to how it is used today.

GEORGIA TIMELINE 12,000 BCE–2000

12,00 BCE 1500 1700 1800 1900 2000 Georgia founded World War I Native Americans living in Augusta Area Civil War World War II Augusta founded Reconstruction Revolutionary War Civil Rights Movement

Activity 2 A Visual Family Tree

Focus: The students will use George Andrews’ This is the Andrews Family as well as family interviews to create their own visual family tree. They will gather information about their families before their museum visits, observe the painting at the museum, and create the painting after the visit. The video of George Andrews included in the packet is a good resource for this project. Another resource is the book, The Dot Man: George Andrews of Madison, Georgia by J. Richard Gruber. Objectives: 1. Students will collect information about their families to use in the project,

including the defining event of each generation. 2. Students will learn how George Andrews used both pictures and words to

describe the life of his family. 3. Students will create a visual description of their families by creating family

trees. 4. Students will discuss and defend which clues are important to include in their

family trees. Materials needed: Work sheet on using a painting as a primary source, completed interview worksheet, white drawing paper, crayons or colored markers. Procedures: 1. Discuss family trees and have students gather information from their families

using the Interview Worksheet. Explain defining event of each generation. 2. Have students think about ways they could depict their family members and

the defining event of their generation in their family trees. 3. Using the information from the Interview Worksheet, have students record

important family events on the Georgia Timeline. 4. Visit the two museums with students and after looking at This is the Andrews

Family, complete the accompanying worksheets, Using a Painting as a Primary Source and the Interview Worksheet, and Using a Photograph as a Primary Source.

Production: 1. Have students think about ways they could depict their family members and

the defining event of their generation. 2. Have students use light colored crayons to draw basic compositions of their

families. 3. Ask students to add any objects that might give clues about the interests,

occupations, or personalities of family members. 4. Prompt students to include any writing that would enhance the composition.

Point out that George Andrews used words in his paintings. 5. Have students use bright, bold colors to complete their compositions. 6. Encourage students to use copies of family photos or memorabilia. Evaluation: 1. Other than the depiction of the family members, how did the students show

their interests and personalities? 2. How do the included words become part of the composition? 3. How do the family trees create a mood or message about the families?

Activity 2 Student Worksheet 1

Using a Painting as a Primary Source

1. What do you see? Looking at George Andrews’ This is the Andrews Family, name every object in the painting. Look carefully and don’t leave anything out. At this point, do not draw any conclusions. Just gather facts.

2. Look at the sensory properties (line, shape, color, space, texture, and pattern). Also, consider the formal properties (repetition, contrast, movement, center of interest, balance, and unity). Also, observe the artist’s style of painting.

3. What facts did you learn from the painting?

4. What do these facts tell you about the artist and his family? What does the style of the painting tell you? What does the spelling of the words suggest about the artist?

5. Does the painting raise any questions?

6. Read the label and record the information. (This is a secondary source.)

7. Go to secondary sources for more information that may answer your questions. (Video on George Andrews; The Dot Man: George Andrews of Madison, Georgia by J. Richard Gruber; The Last Radio Baby by Raymond Andrews)

Activity 2 Interview Worksheet 2

To the Teacher: Before the students can begin their Visual Family Tree, they will need to interview several family members. It would be ideal if the student could interview at least three family members, representing three different generations, for example, a sibling, a parent (or aunts and uncles), and a grandparent. If no grandparent is available, suggest that the student substitute an older person he/she knows. The following questions will get them started, however encourage each student to add his/her own questions.

Question Interview #1 Interview #2 Interview #3 What year were you born? How did people dress during your childhood?

How did they wear their hair?

How many people were in your immediate family? (parents and siblings)

Did any other family members live with you? (grandparent, cousin)

What was your favorite song from your childhood or teenage years?

What town did you grow up in? Was it rural or urban?

How did you pass the time? (personally and collectively)

What was the principal mode of transportation?

How did people receive information?

What was the economy like when you were growing up?

What was your occupation?

What was the defining event of your generation?*

* the defining event could be a war, a natural disaster, or some other significant event that changed the world in which

this person lived.

Activity 2 Student Worksheet 3

Using a Photograph as a Primary Source 1. What do you see? Looking at this photograph, name every type of object that

you see. Look carefully and do not leave anything out. At this point, do not draw any conclusions. Just gather facts.

2. Look at the buildings. How do you think some of them were used? What can you learn from the signs?

3. What facts did you learn from the photograph? What is everyone wearing? What time of year is it?

4. What do these facts tell you about the place and time? Would it be possible with enhancement and magnification to date this photo to an exact year? How? (Hint: look at the movie marquee on the Modjeska Theater.) How would you identify the building?

5. Does the photograph raise any questions? How are the streetcars powered? What features do all the cars share? What is the purpose of the platform in the foreground that the people are standing on? What is the box-like thing next to the lamppost just above the second streetcar?

6. At the Augusta Museum of History, read the label Broad Street, ca. 1921 and record the information. (This is a secondary source.)

7. Go to secondary sources for more information that may answer your questions. (Suggestions: Augusta: A Postcard History by Joseph M. Lee, III or Augusta: A Pictorial History by Helen Callahan or The Story of Augusta by Edward J. Cashin, Jr.)

8. Write a brief paragraph reflecting on what you have learned from this photo analysis.

Georgia Studies 8th Grade

Post-visit Activities A Note to the Teacher: The three activities designed for after the students have visited the museums will help consolidate some of the information learned in this unit. In addition, they will help assess what the students have learned. Activity 3: Historical Perspective: Compare and Contrast requires students to compare and contrast objects/events that they saw or heard about during their visit to the Augusta Museum of History. How are they similar? How are they different? What is they significance of the similarities and the differences? Good resources for this activity are the video Augusta Remembers (enclosed) and the publication, Augusta: A Postcard History (enclosed) by Joseph M. Lee. The relevant QCC standards in Social Studies are as follows: Problem Solving: 8.22 Collects evidence using reliable, appropriate data. Information Processing: 8.27 Distinguishes between primary and secondary sources and determines

respective uses. 8.39 Formulates questions related to the topic. 8.40 Determines adequacy, relevancy and consistency of information for

justifying conclusions or generalizations. Problem solving Skills: 8.22 Collects evidence using reliable, appropriate data. Activity 4: Historical Events is a continuation of the timeline begun before visiting the museums. This activity will help them place historical events studied at the Augusta Museum of History and the artwork observed at the Morris Museum in historical context. Also, they can integrate their family histories into the larger picture. The relevant QCC standards in Social Studies are as follows: Problem Solving: 8.22 Collects evidence using reliable, appropriate data. Time and Chronology: 8.28 Makes a timeline, placing events in chronological order. 8.29 Places related events in chronological order. 8.30 Uses indefinite time concepts as past, future, meanwhile. Activity 5: Stepping into History, will help them internalize events and artworks discussed when visiting the museums. The students will have to learn the facts of the events in order to write their first person account. In addition, they will identify with historical figures and events once they have placed themselves at the scene.

The relevant QCC standards in Social Studies are as follows: Information Processing: 8.27 Distinguishes between primary and secondary sources and determines

respective uses. 8.28 Analyzes interpretation of the same event from multiple types of sources. 8.39 Formulates questions related to the topic. 8.40 Determines adequacy, relevancy and consistency of information for

justifying conclusions or generalizations. Problem Solving Skills: 8.22 Collects evidence using reliable, appropriate data.

Activity 3 Historical Perspective: Compare and Contrast

Focus: In this activity, you will compare and contrast objects/events that you saw or heard about during your visit to the Augusta Museum of History. How are they similar; how are they different? Be creative and descriptive! If you are comparing objects, go beyond the superficial and think of their use as well as their appearance and composition. Talk about what kind of people would have used each object and the time period they would have used it. Objectives: 1. Students will collect information about artifacts and events on their trip to the

Augusta Museum of History. 2. Students will write a paragraph comparing and contrasting two artifacts they

saw or two events they heard about during their tour. Materials needed: notebook paper and pen. Procedures: 1. View the artifacts in Augusta’s Story. 2. Choose a topic from the list below and write a paragraph comparing and

contrasting two artifacts or events from the list. Evaluation: 1. Did the students’ paragraphs effectively compare and contrast two artifacts or

events? Artifact/event choices: 1. a prehistoric Indian pot/a jar made by Dave the slave potter 2. a boiling stone/the iron pot in the Antebellum kitchen 3. the Petersburg boat/the space shuttle 4. water power/nuclear power 5. the Revolutionary War/the Civil War 6. fashions: 1920s/present 7. education: 1880s/present 8. Southern society: 1960s/present 9. Compare how the river was used in the 18th

and 19th centuries to how it is used today.

Activity 4 Historical Events

1. Using your same timeline, try to locate the approximate time when the

following events occurred and mark them in the space below the timeline.

The Augusta Canal was first constructed The Centennial of Augusta’s founding The Great Fire of Augusta The Great Depression The cotton gin was invented Augusta became a resort town DeSoto explores the Georgia territory The Civil War Susan Still pilots a NASA shuttle Reconstruction The Civil Rights Movement The Revolutionary War

2. Using the timeline, now see if you can locate the time periods of these paintings and mark them in the space above the timeline.

River Plantation Surprise Attack Near Harper’s Ferry The Andrews Family Tree Southern Landscape From this Earth The River

Activity 5 Stepping into History

Writing Activity: Using the information you gained from both museums, pick one of the following topics and write a one-page, first person account of what happened to you or how you felt during that time:

I lived during the Great Fire of Augusta. I am Susan Still, NASA pilot. I was one of the soldiers in the Surprise Attack Near Harper’s Ferry I invented the cotton gin. I am Bobby Jones, golfer and architect of the Augusta National Golf Course. I am one of the members of the Andrews Family Tree. I am a Stallings Island Indian. I was one of the figures picking cotton in the painting From This Earth. I am the river in Edward Rice’s The River or River Plantation by Thomas Addison Richards. I am one of the Georgia signers of the Declaration of Independence.

BENNY ANDREWS (1930–) Southern Landscape 1965 Oil on canvas 33 x 40 inches 1999.026 Artist Biographical Information • Born in Madison, Morgan County, Georgia; was one of ten children of George

and Viola Andrews; George, a farmer and a self-taught artist with a penchant for storytelling, was a constant source of creative inspiration for the young Benny; Viola, a highly determined individual, one who became a leader in her church and also cultivated an early interest in writing, fervently believed that her children should be given the benefits of a proper education

• In 1935, moved with his family to his grandfather’s cluster of houses; the father of James Orr, Benny’s grandfather, owned the Oaks Plantation, a substantial cotton plantation; George Andrews worked during this period for the WPA; later, in 1943, the Andrews family became sharecroppers on another plantation

• Studied at Fort Valley State College (1948–1950) • Served in the U.S. Air Force during the Korean War, 1950–1954 • Moved to Chicago, 1954; with the support of the GI Bill, Benny attended the

school of the Art Institute of Chicago; although exposed to and experimenting with contemporary art movements, including Abstract Expressionism, Benny was most interested in realism and in the narrative traditions of American painting; his “classroom” extended into the streets of Chicago, where he sketched the individuals who peopled the city’s various regions; graduated with Bachelor of Fine Arts degree from the Art Institute, 1958

• Moved to New York City in 1958; lived in the city’s ethnically diverse Lower East Side; became friends with artists as diverse as Red Grooms, Mimi Gross, and Lester Johnson; through his galleries, he also became acquainted with an older generation of artists, including Raphael Soyer, Moses Soyer, Chaim Gross, and other Social Realist painters

• First rose to national prominence when he served as founding co-chairman of the Black Emergency Cultural Coalition (BECC) in the late 1960s; in this capacity he focused his efforts to open museums and galleries to a more diverse range of art and artists; this leadership role eventually led to his appointment as Director of the Visual Arts Program for the National Endowment for the Arts, 1982–1984

• Served as a Professor of Art at Queen’s College in New York from 1969 through the late 1990s

• Taught an art class at the Manhattan House of Detention, 1971; this was the beginning of a major prison art program that would eventually spread throughout the U.S.

• Returning to the life of a studio artist in the 1980s, Benny revisited the South

in several series, including “The Southland” and “Revival,” while maintaining a broader perspective in series such as “America” and “Cruelty and Sorrow”

• Collaborated with his brother, writer Raymond Andrews, producing drawings and works on paper to illustrate Raymond’s books, including The Last Radio Baby (1990)

• Has participated in more than 60 solo exhibitions, 50 group exhibitions, and numerous exhibitions with his father George Andrews

• Currently maintains working studios with his wife, the sculptor Nene Humphrey, in three states: Georgia, New York, and Connecticut

• Selected awards include the John Hay Whitney Fellowship (1965), MacDowell Fellowship (1973, 1974, 1975), Georgia Governors Award (1992). Was elected to membership in the National Academy of Design in 1997

General Characteristics of the Artist’s Work: • Artist’s work does not easily fit into categories • Works in a variety of media, including collage, painting, printmaking, sculpture

and drawing • Subject matter is usually drawn from his personal social and cultural

environment and is mostly figurative; J. Richard Gruber, former deputy director of the Morris Museum, stated:

Benny Andrews is, and has always been, a product of his American social and cultural environment…His art reflects his involvement in a full spectrum of experiences within American society, evolving from his early life as the son of sharecroppers living in the rural South to his current stature as a nationally recognized artist and cultural leader…(1)

• While the city and its people became the subject of his early work in New York, Andrews returned to Georgia as the inspiration for his “Autobiographical Series,” mid-1960s (see below); he has returned to the South for inspiration numerous times throughout his career

• While many of his images are representational, Andrews has identified some of his work as “surreal”

On Southern Landscape: • In 1965, Benny was awarded a John Hay Whitney Fellowship, an honor that

encouraged him to travel through Georgia and the South; he visited family members and completed research and studies for a project which he called the “Autobiographical Series.” This series, initiated during the height of the Civil Rights movement, was in part a response to the racial politics of the 1960s New York art market and in part to his witness of the end of the old plantation landscape. As he traveled with his family through the South that year, Benny witnessed the changes that had occurred during the years of the Civil Rights movement as well as the transitions in the Southern landscape, as it continued to move from its old rural economic base to a new urban base

• This painting, from his “Autobiographical Series,” depicts the labors of a rural, African-American family in the setting of the old, rural South, the male figure plowing behind a mule as a female figure in the foreground scrubs clothes in

• a washtub on the front porch of a simple wooden house • Looking at this work in the context of an autobiographical project, one might

interpret these figures as Benny’s own parents—his father, who spent much of his life working behind a mule, plowing cotton fields around Plainview, and his mother, who hand-washed her own family’s clothes, and also took in the wash of others in 1948 and 1949 to raise money for Benny’s educational expenses at Fort Valley State College

• At a more universal level, this painting, like Benny’s other works in this series, serves, in part, as a tribute to the humble survivors and the memories of the old order in the rural South

Artist Quotation:

It bothers me most not being seen as a complicated individual. It’s much easier to be typecast as regional or representational or Southern or black. (1, i)

Sources: 1. Gruber, J. Richard. American Icons: From Madison to Manhattan, the Art of

Benny Andrews, 1948 – 1997. Augusta, GA: Morris Museum of Art, 1997. 2. Tully, Judd. “Benny Andrews.” American Artist 52 (April 1988): 44.

Artist information sheet prepared by Patricia Moore, 1999.

GEORGE ANDREWS (1911–1996) This Is the Andrews Family (Andrews Family Tree) 1991 Oil on canvas 60 x 40 inches 1994.024 The Morris Museum of Art holds 19 works by George Andrews in its permanent collection. Artist Biographical Information: (1) • Born in Plainview, GA; son of James Orr, a Scotch-Irish plantation owner, and

Jessie Rose Lee Wildcat Tennessee, an African-and Native-American • Received a third-grade education before entering into farm labor; George

continued his education informally, reading newspapers and magazines • Married Viola Perryman at age 17; the couple had ten children, including

visual artist Benny Andrews and writer Raymond Andrews • As a young man he used “bluing,” a cleaning powder compound, to paint

large images of biplanes on local barns; son Benny remembers his father drawing in the dirt, commonly using nails as drawing tools

• Andrews’s family lived in a two-room wooden house near his mother’s house and not far from James Orr’s cabin, 1935–1943; family moved to a nearby farm to begin work as sharecroppers, 1943

• George and Viola separated in 1953; Viola moved to Atlanta with the remaining children

• In the early 1950s, George obtained a job painting street signs for the city of Madison; eventually contracted chemical poisoning from the lead-based paint; after a severe and lengthy illness, he was no longer able to work; he was offered, and accepted, living space in the city’s government housing project; he remained in this home for the remainder of his life

• After his illness, he began to paint; he first painted rocks, decorating them with brightly colored dots; he soon expanded his range to include porch furniture and other items on his porch and around his yard; words and phrases soon began to appear on his work

• During the mid-1980s, his son Benny began to provide him with fine arts materials and encouraged his father to paint on canvas

• Although his art was known in Madison, it was not until the early 1990s that his art was exhibited nationally through the efforts of his son Benny

• Was featured in a solo exhibition at the Morris Museum of Art, 1994 • Lived his entire life in the Madison, GA, area; never left the state of Georgia General Characteristics of the Artist’s Work: • While initially known for his use of brightly colored dots and patterns on

objects, he eventually diversified his visual symbols to include words, phrases, animals (pigs were a favorite motif), and more abstract patterns and

compositions • Some of his work dealt with social issues, African-American themes, or his

own mixed-race heritage • Dreams provided the inspiration for many of his paintings • In 1989, Andrews initiated a long-term project devoted to painting the history

of the Andrews family; a series of portraits were painted of individual family members as well as a family tree

On This Is the Andrews Family: (1) • Considered by J. Richard Gruber to be the most ambitious painting in the

artist’s family project • Painting was usually called “The Family Tree” by the artist • Picture came to him in a dream • In addition to painting the members of his immediate family, Andrews filled

the painting with his favorite subjects and visual motifs, including creeping vines, flowering shrubs, bluebirds, and pigs; he also included the Andrews cabin in Plainview

• Painting shows George’s occupation as a farmer through his overalls, mule, and plow

Artist Quotation:

All this artwork. It be on my mind. I lay down after saying my prayers, I get visions what to do. (1,p.24)

George commented on his increased public recognition: Since people been seeing the rocks I paint in houses of folks all over town, more and more people ask me about my work. I go down to the post office to pick up my mail and they don’t call me “G” anymore. They call me Mr. Andrews. (1,p.16)

Sources: 1. Gruber, J. Richard. The Dot Man: George Andrews of Madison, Georgia.

Augusta, GA: Morris Museum of Art, 1994.

Artist information sheet prepared by Patricia Moore, 2000.

LAMAR DODD (1909–1996) From this Earth 1945 Oil on canvas 24 x 37½ inches 1990.063 Artist Biographical Information: • Born in Fairburn, Georgia. • Studied at LaGrange College in Georgia and the Georgia Institute of

Technology. • Studied with Boardman Robinson at the Art Students League in New York;

also studied with Jean Charlot and John Steuart Curry. • 1930–1937: Active in Birmingham, Alabama where he managed an art supply

store by day and painted by night. • 1937–1976: Joined the art department at the University of Georgia. After one

year, he became the head of the department. General Characteristics of the Artist’s Work: • Dodd, with interest in avant garde (breaking with tradition), changed his

working style throughout his career to experiment with new techniques and movements in art.

• During the 1930’s Dodd’s work reflected the interests of the Regionalists, Thomas Hart Benton, John Steuart Curry, and Grant Wood. Regionalism, as defined in the Oxford Companion to 20th Century Art, refers to:

…a group of artists, prominent during the 1930’s and early 1940’s, who concentrated on realistic depiction of scenes and types from the American Midwest and deep South. Their motivation, like that of all the American Scene painters, derived from a patriotic desire to establish a genuinely American art…

[Many historians would argue with the notion that there was a Regionalist movement and that the artists painted “realistically.” Thomas Hart Benton, in particular, exaggerated features on many of his figures. The exaggeration and elongation of the figure and limbs are based on Baroque and Mannerist styles from the 17th and 18th centuries in Europe.] Quote from the artist in Southern Living:

One’s study is never finished, and I, as a painter, will remain a student for my entire life. (2)

Sources: 1. Pennington, Estill C., A Southern Collection. 2. Mobley, Anita M., Southern Living Magazine. 3. Osborne, Harold, The Oxford Companion to 20th Century Art.

JOHN MOONEY (ca. 1843–1918) Surprise Attack Near Harper’s Ferry ca. 1868 Oil on canvas 54⅛ x 96¼ inches 1989.01.120 Artist Biographical Information: • Birthplace and date of birth are unknown (1) • Enlisted in the Army of the Confederacy in Savannah, Georgia, May 18, 1861

(3) • May have been captured in the first year of the war; The Records of the War

of the Rebellion, Series 2, Volume 5, show a John Mooney released by order of General Benjamin F. Butler, December 3, 1862, from Parish Prison, Parish of Orleans, Louisiana (2); it is worthy of note that this assumption is currently being researched

• Served as private in Captain J. C. Fraser’s Battery, Pulaski Artillery, Cabell’s Brigade, McLaws’ Division; this was outfit from Georgia which fought in Virginia campaigns after Battle of Fredericksburg, including Peninsula and Gettysburg

• After war, no records located of activities until 1898, when listed in Washington, DC, city directory, with studio in Corcoran Building; listed in this location in 1898, 1899, and 1901 (2)

• Apparently moved from Washington to Richmond about 1901-2; Confederate Museum has letter from Washington Camp, United Confederate Veterans (U.C.V.), December 5, 1902, introducing Mooney to officers of Lee Camp, U.C.V., in Richmond, where he was thereafter a member

• Valentine Museum in Richmond, Virginia, holds several paintings by Mooney in its collection; all date from 1884 through 1910

• Died December 9, 1918, in Richmond, VA, Poor House (2) General Characteristics of the Artist’s Work: • Painted figurative, still life, and landscape subjects in post-war period On Surprise Attack Near Harper’s Ferry: • It is very likely that this painting shows an incident of the war just prior to the

battle of Sharpsburg or Antietam, Maryland, 1862; during that fall, Fraser’s Battery had participated in an attack on Harper’s Ferry (personal conversation with Tom Sutherland, 2000)

• Clifford L. Walker wrote the following description of this painting; Mr. Walker was Mooney’s friend and present at death:

This picture shows an actual occurrence during the Civil War when Frasher’s [sic] Battery… was surprised by the enemy when bathing in the Potomac, Harper’s Ferry on the Virginia side. The bursting shells can be seen above the trees showing the enemy had gotten information as to their location and are rapidly advancing. You can readily appreciate the

situation …that Mr. Mooney and the rest of his comrades experienced. The picture shows some of them completely dressed on shore and those that have yet failed to get out of the water. Mr. Mooney sketched this from memory and later went to considerable expense on the ground in using living models to help him complete the picture. Unfortunately it is not completed but it has reached a stage of completion for us to realize fully that it is a wonderful piece of work; one that will attract a great deal of interest. Mr. Mooney had a special metal tube made for this because of the difficulty of carrying it about and was always very particular in rolling so as not to break or bend the canvass [sic] as he prized the picture highly.

• Estill Curtis Pennington, the Morris Curator of Southern Painting, and Bob Kuhar, then Morris Corporate Communications architect, designed concave wall to display painting; Chatham Murray of Athens, GA, did faux finishes on concave wall; painting, which had already been wax-resin lined, prepared by a Washington, DC, conservator to be exhibited on this curved surface; painting was first removed from stretcher; reverse of lined painting then infused with wax-resin adhesive; using vacuum hot table, painting lined to flexible, fiberglass laminate plate; painting then cradled in custom-designed frame; frame screwed into wall; entire process reversible

Sources: 1. Pennington, Estill Curtis. A Southern Collection. Augusta, GA: Morris

Communications Corporation, 1992. 2. Artist’s file, the Valentine Museum, Richmond, VA. 3. Chambers, Bruce W. Art and Artists of the South: The Robert P. Coggins

Collection. Columbia: University of South Carolina Press, 1984.

Artist information sheet prepared by Patricia Moore and Tom Sutherland, 2000.

EDWARD RICE (1953–) The River 1994 Oil on canvas 48 x 48 1994.015 The Morris Museum holds seven works by Edward Rice in its permanent collection. Artist Biographical information: • Born in North Augusta, SC; currently resides in Augusta, GA • As a child studied drawing and painting with Edith Alexander in North

Augusta; later studied with Louise Mallard at the Gertrude Herbert Institute of Art; enrolled at Augusta College, 1972–1974, where he studied with Eugenia Comer, David Jones, and Freeman Schoolcraft

• During his youth he studied the Charleston architectural prints of Elizabeth O’Neill Verner and sketched some of the same Charleston scenes from the same vantage point as Verner did

• Studied privately with Freeman Schoolcraft beginning in 1974; Schoolcraft provided Rice with a solid training in realism; Cora Schoolcraft, artist and wife of Freeman Schoolcraft, also mentored the young Rice

• Married Faye Schoolcraft, Freeman’s daughter, in 1975; the couple divorced in 1982

• Has undertaken study trips to New York, Washington, DC, and Europe, beginning in 1976

• Served as Director and Artist-in-Residence at the Gertrude Herbert Institute of Art, 1979–1982

• Moved studio to 142 Eighth Street, Augusta, 1982; relocates studio to 142 Eighth Street, 1983

• Was influenced by the work of English painter Lucien Freud, whose work he first saw in England in 1986

• Established studio at 502 Lucerne Avenue, North Augusta; renovates studio in 1996, former jail and later residence of the artist’s grandmother

• Received many awards and has been included in national exhibitions • Represented in numerous private, corporate, and museum collections

throughout the country General Characteristics of the Artist’s Work: • His subjects reflect an interest in place, particularly in the order imposed on

nature by man • Prefers oil on canvas as his medium • Works outside with nature as long as the light and foliage remain the same • The scale, the shape, and perspective of his paintings are fundamental to his

style • Often uses photographs extensively to develop his paintings (see quotation

below) • His style is similar to formalism; formalism is a style where the elements and

principles of design are precisely planned out and orderly • Usually paints on a 4x4 foot canvas because he feels that the square is the

only neutral shape • Interested in the Palladian and Vitruvian aspect of the square; a sense of

order is essential to both Palladian and Vitruvian architecture; Palladio was a 16th century Italian architect who felt that architecture must be governed by reason and certain universal rules; Vitruvius was a Roman architect who lived during the first century BC; his writings and definitions of classical architecture set the standard for architecture for many centuries

• In addition to the artist’s interest in architecture, he produced works which focus on landscape and the human figure

• According to Lynn Robertson Myers, the Director of the McKissick Museum, Rice “employs a naturalism that is on one hand as accurate and cool as that of a photo-realist but which can also be transformed by a sense of personal involvement and nostalgia.”(1, p. 1)

• Feels that it is more important to communicate something rather than just painting for the sake of painting

On The River: • Depicts a view of the Savannah River from the Georgia shoreline Rice was

inspired to create this painting as he walked along the canal road on a day when the water appeared to be vibrant blue in color (3)

• Rice overpainted several layers of the canvas to achieve the blues and golds (3)

• 100 posters were printed of this work by the state museum using a digital reproduction process (3)

• Rice painted two other versions of The River, one is 30” x 30” and the other is 14” x 14”; both works are held in private collections (3)

Artist Quotation:

First I do a quick sketch of the idea, and then I make approximately 100 photographs. …From the photographs I work as a draftsman so I have a geometrically constructed drawing on the canvas. Then I go back to the spot and work there for as long as the light and foliage are the same. I take numerous photographs of details, tree limbs and doorknobs, etc., so I can go back to the studio and work until the season, the light and the foliage are the same again.

- Ed Rice, 1987 (1, p. 1)

Sources: 1. Robertson Myers, Lynn. Edward Rice: Paintings and Drawings: May 7 – June

14, 1987. Columbia, SC: McKissick Museum, University of South Carolina, 1987.

2. Houston, David, et. al. Edward Rice: Architectural Works, 1978-1998. Augusta, GA: Gertrude Herbert Institute of Art, 1998.

3. Conversation with the artist by Harriet Dolin, 1999

Artist information sheet prepared by Harriet Dolin and Patricia Moore, 2000.

THOMAS ADDISON RICHARDS (1820–1900) River Plantation ca. 1855-60 Oil on canvas 20 ¼ x 30 inches 1989.01.161 Artist Biographical Information: • Born in London, England; immigrated with family to United States in 1831,

and by 1838 had settled in Penfield, Georgia, after brief stay in Hudson, New York, and in Charleston, South Carolina (1)

• By 1838, had collaborated with brother, the editor William Carey Richards, in publication of The American Artist, book on flower painting; (1) later helped brother introduce two Southern literary monthlies and began to write novelettes, stories, and drawings which were published in such periodicals as Harpers’ New Monthly Magazine and The Knickerbocker (5)

• Traveled to Augusta, Georgia, in October 1838 to teach art in this commercially active city; the Georgia Constitutionalist, Augusta Mirror, and [Augusta] Daily Chronicle and Sentinel provide ample evidence that Richards provided instruction in oil painting, watercolors, sepia and India ink tinting, and pencil drawing during his residency; while teaching, he painted portraits of local citizens, including members of the McKinne family, and contributed poetry, an essay on painting, and travelogues describing rambles through upper Georgia to the Augusta Mirror, a local literary journal; also employed to paint pictures of Clay and Polk on canvas that stretched across Augusta’s Broad Street during the 1844 presidential campaign (2)

• In 1842, published Georgia Illustrated, featuring series of eleven steel engravings of Georgia landscape views; view of the Medical College of Georgia included in book; book was accompanied by texts by various authors (1)

• Moved to New York,1844; began studies at National Academy of Design (2) • After move to New York, continued to publish books, most prominent of which

was Appleton’s Illustrated Hand-Book of American Travel, first comprehensive guidebook for American travelers

• Elected associate member of National Academy of Design, 1848; became full member three years later; served as Academy’s corresponding secretary, 1852–92 (1)

• Married Mary E. Anthony of Providence, Rhode Island, in 1857; she authored children’s stories (5)

• Spent summer of 1867 touring and sketching in Europe with wife • Served as president of New York Sketch Club (1847–1848), first director of

Cooper Union School of Design for Women (1858–1860), and professor of art at New York University (1867–1887) (1)

• Wife died of malignant tumor in 1894 • Died in Annapolis, Maryland, in 1900 while visiting nephew (5)

General Characteristics of the Artist’s Work: • Earliest work in portraiture • By mid-career, Richards increasingly recognized as landscape artist; drew

and painted many scenes of the Southern landscape • Landscape paintings show influence of Hudson River school. (3) As member

and president (1847–1848) of the New York Sketch Club, he likely knew and socialized with the Hudson River artists; Sanford Robinson Gifford, Hudson River school artist, accompanied Richards on at least one sketching trip (5)

• Carried small sketchbook with him on travels; practice was shared with most Hudson River school artists

On River Plantation: • Believed to depict rice plantation perhaps in Georgia along the Savannah

River (3); Melissa Gayle noted that there are ruins of a former rice plantation upstream from the present location of the Morris Museum and that the site visually resembles this painting

• In Appleton’s Illustrated Hand-Book of American Travel (1857), Richards described Augusta in most favorable terms:

Augusta, one of the most beautiful cities in Georgia, and the second in population and importance, is on the eastern boundary of the State, upon the banks of the Savannah River, and at the head of its navigable waters, 120 miles north-northwest from Savannah, and 136 northwest from Charleston, with both of which cities it has long been connected by railroad. Augusta now has a population of over 12,000, and it is every year greatly increasing…There are delightful drives along the banks of the Savannah, particularly below the city…(p. 277)

• Focal point of painting is a large oak tree laden with moss; in 1859 Richards wrote and illustrated article for Harper’s entitled “The Rice Lands of the South” in which he described the oak tree as the “most remarkable” of Southern trees:

Its foliage falls in drooping masses, more luxuriant and more graceful than those of the elm, while its branches have the magnificent proportions and the vigorous strength of the old English oak. It is frequently of immense size, overshadowing, between its trunk and its outer limbs, space and verge enough for a mass meeting. … no tree is so richly draped as is the live oak in the festoons of the wondrous moss of the vicinage. It is often seen…looking down from the crown of some sandy bluff into the floods of the quiet rivers. (4, p. 738)

• John Michael Vlach, American studies professor at George Washington University, believes this painting was produced in a style typical of plantation portraits dating to period immediately preceding Civil War; in this style the artist emphasized a picturesque landscape rather than a plantation house (personal conversation, July 1998)

Quotation: For the verdant meadows of the North, dotted with cottages and grazing herds, the South has her broad savannas, calm in the shadow of the palmetto and the magnolia; for the magnificence of the Hudson, the Delaware and the Susquehanna, are her mystical lagunes, in whose stately arcades of cypress, fancy floats at will through all the wilds of past and future.

-Thomas Addison Richards, 1853 (6, p. 120) Sources: 1. Chambers, Bruce. Art and Artists of the South: The Robert P. Coggins

Collection. Columbia, SC: University of South Carolina Press, 1984. 2. Griffith, Louis T. “T. Addison Richards: Georgia Scenes by a Nineteenth

Century Artist and Tourist.” Georgia Museum of Art Bulletin 1, no. 1 (fall 1974): 9-16.

3. Grootkerk, Paul. “Artistic Images of Mythological Reality: The Antebellum Plantation.” The Southern Quarterly 32, no. 4 (summer 1994): 33-43.

4. Richards, T. Addison. “The Rice Lands of the South.” Harper’s New Monthly Magazine 19 (November 1859): 721-738.

5. Koch, Mary L. “The Romance of American Landscape: The Art of Thomas Addison Richards.” Georgia Museum of Art Bulletin 8, no. 2 (winter 1983): 5-36.

6. Pennington, Estill Curtis. Look Away: Reality and Sentiment in Southern Art. Atlanta, GA: Peachtree Publishers, 1989.

7. Pennington, Estill Curtis. A Southern Collection. Augusta, GA: Morris Communications Corporation, 1992.

8. Richards, T. Addison. Appleton’s Illustrated Hand-Book of American Travel. New York City: D. Appleton and Co., 1857.

Artist information sheet prepared by Melissa Gayle and Patricia Moore, 2000.

Georgia Studies 8th Grade

Glossary of Art Terms • atmospheric perspective The representation of space in a drawing or

painting by making objects appear distant by blurring outlines, by showing less detail, and by making colors lighter and cooler.

• background The part of the painting or other image that seems to be farthest from the viewer.

• balance The arrangement of the sensory properties (line, shape, color, space, texture, and pattern) so that there appears to be visual equilibrium. The balance may be symmetrical (the same on both sides) or asymmetrical (different on each side, but in equilibrium). Another word for symmetrical balance is formal; another word for asymmetrical balance is informal.

• center of interest The focal point of a work of art. The area in the artwork to which all movement is directed.

• complementary colors Pairs of colors that are opposite each other on the color wheel: red/green, blue/orange, purple/yellow. Complementary colors intensify each other when paired, but neutralize each other when mixed.

• composition How elements are positioned in relation to each other within a work of art.

• contrast Great difference between things: light/dark, smooth/rough, thick/thin, etc.

• cool colors Colors that remind people of cool things: blues, greens, purples.

• foreground The part of a painting or other image that seems to be closest to the viewer.

• landscape A work of art that shows the features of the natural environment such as trees, mountains, or rivers.

• line A continuous, slender mark made on a surface; a real or suggested line or path joining the elements in a composition.

• linear perspective A system of drawing or painting that gives the illusion of depth.

• movement The arrangement of the elements of an artwork so that a sense of motion is created and the eye moves through the artwork.

• negative space Area in an image or sculpture that is not taken up by any forms, but surrounds forms and fills in the “gaps” of the composition.

• pattern Lines, colors, or shapes repeated over and over in a planned way.

• portrait An artwork that represents a person’s likeness. • primary colors Red, blue, yellow; all other colors can be mixed

from these, but you cannot mix colors to make these three.

• repetition Elements that appear over and over in an artwork. This often creates a sense of movement or rhythm.

• secondary colors Orange, green, and purple; each of these colors is made by mixing two primary colors together.

• shape An enclosed, two-dimensional space. Shapes may be geometric (squares, circles, rectangles, triangles, etc.) or natural with curving or irregular outlines.

• space The illusion of depth created by an artist in a two dimensional artwork. Space may also be open areas in an artwork.

• still life An artwork of inanimate objects (usually arranged) such as vases, bottles, fruits, or flowers.

• texture The feel of a surface, either real or simulated, as when an artist makes an object in a painting look shiny.

• unity The formal property in a work of art in which the sensory properties are arranged into a harmonious whole.

• value The lightness or darkness or a color. • warm colors Colors that remind people of warm things: red,

yellow, or orange.

Georgia Studies 8th Grade

Glossary of History Terms • architecture The profession of designing buildings, open

areas, communities and other artificial construction usually with some regard to aesthetic effect.

• artifact Any object made by human beings especially with a view of subsequent use.

• boll weevil A snout beetle that attacks the bolls or flowers of cotton, destroying the plant.

• British Parliament The legislature of Great Britain, consisting of the House of Lords and the House of Commons.

• charter A document, issued by a sovereign or state, outlining the conditions under which a colony is organized.

• colonist An inhabitant of the thirteen British colonies that became the United States of America.

• ethnic group Persons sharing a common and distinctive culture, religion, or language.

• explorer A person who investigates unknown regions. • fall line An imaginary line, marked by waterfalls and

rapids, where rivers descend abruptly from an upland to a lowland.

• immigrant A person who migrates to another country, usually for permanent residence.

• Piedmont region A plateau between the coastal plain and the Appalachian Mountains.

• coastal plain A plain running along the coast. • Reconstruction The period of time from 1865–1877 providing

for the reorganization of the former Confederate states back into the union.

• revolution An overthrow, a thorough replacement of an established government or political systems by the people governed.

• rural Characteristic of the country life; rustic. • timeline A chronological schedule of events. • urban Pertaining to the city.

Southern Art A Basic Bibliography Bivins, John & Alexander, Forsyth. The Regional Arts of the Early South: A

Sampling from the Collection of the Museum of Early Southern Decorative Arts. Winston-Salem, NC: Museum of Early Southern Decorative Arts, 1991.

Bundy, David S., ed. Painting in the South: 1564–1980. Richmond, VA: Virginia

Museum of Fine Arts, 1983. Chambers, Bruce. Art and Artists of the South: The Robert P. Coggins Collection.

Columbia, SC: University of South Carolina Press, 1984. Delehanty, Randolph. Art in the American South: Works from the Ogden

Collection. Baton Rouge, LA: Louisiana State University Press, 1996. Dugan, Ellen, ed. Picturing the South: 1860 to the Present: Photographers and

Writers. Atlanta, GA: High Museum of Art, 1996. Gerdts, William H. Art Across America: Two Centuries of Regional Painting,

1710–1920. New York: Abbeville Press, 1990. Grootkerk, P. Art Across the American South 1733–1989: Selections from the

Roger Houston Ogden Collection. Lafayette, LA: University Art Museum/University of Southwestern Louisiana, 1993.

Kelly, James C. The South on Paper: Line, Color and Light. Spartanburg SC:

Robert M. Hicklin, Jr., Inc, 1985. Pennington, Estill C. Echoes and Late Shadows: The Larger World of Southern

Impressionism. Augusta, GA: Morris Museum of Art, 1996. -----. Light of Touch: Select Works on Paper from the Permanent Collection of the

Morris Museum of Art. Augusta, GA: Morris Museum of Art, 1993. -----. A Southern Collection. Augusta, GA: Morris Communications Corp, 1992. -----. Antiquarian Pursuits: Southern Art from the Holdings of Robert M. Hicklin,

Jr. Spartanburg, SC: Robert M. Hicklin, Jr., Inc., 1992. -----. Look Away: Reality and Sentiment in Southern Art. Atlanta, GA: Peachtree

Publishers, 1989.

Pennington, Estill C. & Gruber, J. Richard. 5th Anniversary Celebrating Southern Art. Augusta, GA: Morris Museum of Art, 1997.

Phagan, Patricia, ed. The American Scene and the South: Paintings and Works on Paper, 1930-1946. Athens, GA: Georgia Museum of Art, 1996.

Poesch, Jessie J. The Art of the Old South: Painting, sculpture, Architecture and

the Products of Craftsmen, 1560–1860. New York: Knopf. 1983. Severens, Martha. Greenville County Museum of Art: the Southern Collection,

New York: Hudson Hills Press, in association with the Greenville County Museum of Art, 1995.

Bibliography of Augusta History Arts Committee of the Junior League of Augusta. Augusta, Yesterday and Today.

1950.

Albertin, Mark. Augusta Remembers (video). Morris Communications, 1999. Augusta Chronicle. The Place We Call Home: A Collection of Articles About

Local History from the Augusta Chronicle. The Augusta Chronicle 1995. Bagley, W.H. Reminiscences of the Old Street Car Days of the Yesterdays,

1899–1933. 1933. Bell, Earl L. & Crabbe, Kenneth C. The Augusta Chronicle: Indomitable Voice of

Dixie, 1785–1960. University of Georgia, 1960. Benson, Susan Williams. Berry Benson's Civil War Book. University of Georgia,

1962. Bigbie, Altehia. The University of Georgia and Richmond Academy: Their

Relationship from 1785–1985. R.L. Bryan Company, 1985. -----. Memories: The Academy of Richmond County. R.L.Bryan Company, 1982. Bleser, Carol, ed. The Hammonds of Redcliffe. Oxford University Press, 1981. Burr, Virginia Ingraham. Secret Eye: The Journal of Ella Gertrude Clanton.

Thomas, 1848–1889. University of North Carolina Press. 1990. Callahan, Helen. Augusta: A Pictorial History. Richmond County Historical

Society, 1980/1999. -----. Summerville, A Pictorial History. Richmond County Historical Society, 1993. Callahan, Helen and Rowland, A. Ray. Yesterday's Augusta. Seemann's Historic

Cities Series No. 27, E.A. Seemann Publishing, 1976. Campbell, Archibald, Lt. Col. 71st

Regiment of Foot. Journal of An Expedition Against the Rebels of Georgia. Richmond County Historical Society, 1981.

Cashin, Edward J, The Story of Augusta. Richmond County Historical Society,

1980/1996. -----. General Sherman's Girlfriend and Other Myths of Augusta History. -----, ed. Colonial Augusta: Key to the Indian Countrey [sic].

-----. William Bartram and the American Revolution on the Southern Frontier. University of South Carolina Press, 2000.

-----. The Quest: A History of Public Education in Richmond County. -----. The King's Ranger: Thomas Brown and the American Revolution on the

Southern Frontier. Fordham University Press, 1999. -----. Governor Henry Ellis and the Transformation of British North America.

University of Georgia Press, 1994. -----. Old Springfield: Race and Religion in Augusta, Georgia. Springfield Village

Park Foundation, 1995. Cashin, Edward J. with Callahan, Helen. A History of Augusta College. Augusta

College Press, 1976. Cashin, Edward J. & Robertson, Heard. Augusta in the American Revolution:

Events in the Georgia Backcountry, 1773–1783. Richmond County Historical Society, 1975.

Christian, Frank. Augusta National & The Masters: A Photographer's Scrapbook.

Sleeping Bear Press, 1996. Corley, Florence F. Confederate City: Augusta, Georgia, 1860–1865. Richmond

County Historical Society, 1960. Cumming, Joseph B. Reminiscences of Joseph B. Cumming, 1893–1983.

Richmond County Historical Society, 1983. de Treville, John. Reconstruction in Augusta, Georgia, 1865–68. Master's Thesis.

Federal Writer's Project in Georgia. Augusta. American Guide Series, Works Progress Administration, 1938.

Fleming, Berry. Autobiography of a City in Arms: Augusta, Georgia, 1861–1865.

Richmond County Historical Society, 1976. -----. Autobiography of a Colony: the First Half-Century of Augusta. University of

Georgia, 1957. Fogleman, Margeuerite Flint. Historical Markers and Monuments of Richmond

County, Georgia. Richmond County Historical Society, 1986. German, Richard. Queen City of the Savannah: Augusta During the Urban

Progressive Era, 1890–1917. Ph.D. dissertation, University of Florida, 1991.

Haltermann, Bryan M. From City to Countryside: A Guidebook to the Landmarks of Augusta, Georgia. Lamar Press, 1997.

Jones Charles C., Jr. & Dutcher, Salem. Memorial History of Augusta, Georgia,

The Reprint Company. Jones, Anna Olive. History of the First Baptist Church, Augusta, Georgia, 1817–

1967. R.L. Bryan Company, 1967. Kane, Sharyn & Keeton, Richard. Beneath These Waters: Archaeological and

Historical Studies of 11,500 Years Along the Savannah River. National Park Service, 1993.

-----. In Those Days: African-American Life Near the Savannah River. National

Park Service, 1994. Langley, A.M. Jr. Trolleys in the Valley: History of Streetcars and Interurban

Railways of Augusta, North Augusta, Horse Creek Valley and Aiken, SC. 1972.

Lee, Joseph M. III. Augusta: A Postcard History. Acadia Publishing, 1997. Leslie, Kent Anderson. Woman of Color, Daughter of Privilege: Amanda America

Dickson.1849–1893, University of Georgia Press, 1995. Maness, Harold S. Forgotten Outpost: Fort Moore & Savannah Town, 1685–

1765. Maness Family, 1986. McCoy, Carl. A Sketch of Black Augusta Georgia from Emancipation to the

Brown Decision, 1865–1954. unpublished manuscript, ca. 1984. Moore, Victor A. Let the Hills Hear Thy Voice: A History of the Church of the

Good Shepherd, Augusta, Georgia, 1869–1994. The Reprint Company, 1995.

North Augusta Historical Society. History of North Augusta, South Carolina. North

Augusta Historical Society, 1980. Parker, Barry. For the People, The Commitment Continues: The Story of

University Hospital. University Hospital, 1993. Rowland, Arthur Ray. Reminiscences of Augusta Marines. Richmond County

Historical Society, 1999. Smith, Perry M. A Hero Among Heroes: Jimmie Dyess and the 4th Marine

Division. Marine Corps Association, 1998.

Spalding, Phinizy. The History of the Medical College of Georgia. The University of Georgia Press, 1987.

Stulb, Eileen Hefferman. Augusta Country Club Centennial, 1899–1999. The

Augusta Country Club, 1998. Werner, Randolph D. Hegemony and Conflict: The Political Economy of a

Southern Region: Augusta, Georgia, 1870–1890. Whatley, William L. A History of the Textile Development of Augusta, Georgia,

1865–1883. M.S. thesis. University of South Carolina, 1964. White, Michael C. Columbia County: A Study of its Streams, Rivers and Historic

Water Mill Sites. Privately published 1998. -----. Historic Milling in Richmond County, Georgia. Privately published, 1998. -----. Down Rae's Creek: A Famous Stream at Augusta, Georgia's Fall Line Hills.

Howell Printing, 1996. Whites, Lee Ann. The Civil War as a Crisis in Gender Augusta, Georgia, 1860–

1890. The University of Georgia, 1995. Wood, W. Kirk, ed. A Northern Daughter and a Southern Wife: The Civil War

Reminiscences and Letters of Katharine H. Cumming. Richmond County Historical Society, 1976.

Primary Sources: Primary sources on Augusta history can be found in the permanent collections of the Augusta Museum of History; the Augusta Public Library; the Augusta Genealogical Society; Augusta-Richmond County Courthouse; Reese Library, Augusta State University; Richmond County Historical Society Collections, Reese Library, Augusta State University. Compiled by the Augusta Museum of History, September 2000

Transparencies 1. George Cooke, Portrait of Western Berkeley Thomas and Emily Howard

Thomas, 1840, Oil on canvas, 36 x 28 ½ inches. Morris Museum of Art, Augusta, Georgia.

2. Lamar Dodd, From this Earth, 1945, Oil on canvas, 24 x 39 ½ inches. Morris Museum of Art, Augusta, Georgia.

3. Edward Rice, The River, 1994, Oil on canvas, 42 x 42 inches. Morris Museum of Art, Augusta, Georgia.

4. Prehistoric Indian pottery fragments and projectile points used on spears. Augusta Museum of History.

5. Quilt made by slaves in 1825 and pottery made by enslaved, African-American potter Dave. Augusta Museum of History.

6. Horse-drawn, steam-operated fire engine from 1869. Augusta Museum of History.

Georgia Studies Packet Evaluation

Thank you for completing the Georgia Studies Tour! We would appreciate your comments about the packet that you received with pre and post-visit lesson plans. Please return this evaluation with the 3-ring binder within two weeks of your Georgia Studies Tour. Thank you! Please rate the following aspects of the packet from 1–5 with 5 being the highest rating.

_____ Tips for Teachers _____ Art Vocabulary _____ History Vocabulary _____ Timeline _____ Lesson plans _____ Augusta Canal pamphlet _____ Biographies of selected artists _____ Bibliography for Augusta’s Story

What part of the packet was most useful?

What part of the packet was least useful?

What would you like to see added to the packet?

We would welcome any additional comments or suggestions.