georgia studies images and artifacts - morris museum … · 2012-11-01 · georgia studies: images...

the Augusta Museum of History

and the Morris Museum of Art

GEORGIA STUDIES images and artifacts

study guide for the 5th 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 5th Grade

Table of Contents Letter to the Teacher Themes, Images, and Artifacts Introductory Questions Vocabulary Pre-visit Activities

Activity 1, It’s About Time Activity 2, An Augusta Landscape

Worksheet 1: Looking at The River Worksheet 2: Draw a Landscape

Activity 3, The Civil War News Worksheet 3: Civil War KWLH Chart

Post-visit Activities Activity 4, It’s About Time, Continued

Worksheet 4: It’s About Time, Continued Activity 5, Stepping into History

Worksheet 5: Stepping into History Activity 6, Working Together

Worksheet 6: Storyboard Worksheet Activity 7, The Civil War News, Continued

Artists’ Biographies Glossary of Art Terms Glossary of History Terms Bibliographies

Southern Art Augusta History

List of Transparencies included in the Resource Packet Tour Evaluation for Students Packet Evaluation for Teachers Resources (Available in your school’s media center) Augusta Remembers (video) Augusta: A Postcard History (book) Walking the Log: Memories of a Southern Childhood (book) The Dot Man: George Andrews (video) The Dot Man: George Andrews of Madison, Georgia (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 school children 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 history. 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 more smoothly. Also, we have prepared 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. We encourage students to complete these worksheets either before or after their museum visits but not during them. 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 experiences relevant to the lives of the students. Tour Overview: You and your students will visit one museum for 45 minutes, have a 25-minute break to travel between museums, and then visit the other museum for 45 minutes. The major focus for the tour for the 5th grade students is the history of Augusta from the time of the Civil War until the present. Enjoy your visits to the Augusta Museum of History and the Morris Museum of Art! 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


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

The River (painting by Edward Rice) Petersburg boat

Cotton

From This Earth (painting by Lamar Dodd) The Mill (painting by Edward Rice) Cotton mills Henry Holmes cotton gin Photo of cotton mill workers

The Civil War and Reconstruction

The Price of Blood (painting by Thomas Satterwhite Noble) Secession flag Confederate Powder Works drawings Civil War cannon made by Augusta Foundry & Machine works Surprise Attack Near Harper’s Ferry (painting by John Mooney) The Lost Cause (painting attributed to Henry Mosler)

Post-Reconstruction History

Bargain Basement (painting by Lamar Dodd) Chinese canal workers

People

Lucy Craft Laney General William Tecumseh Sherman Julia Dent Lamar Dodd Susan L. Still James Brown


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. Why were the Savannah River and the Augusta Canal 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. 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. What were the main causes of the Civil War? The issue of slavery excited the most emotion. Another issue dividing the North and South was states’ rights. Most people in the South believed that powers not given to the federal government belonged to each state. A third problem between the two sections was economic: the South depended on agriculture and the northern economy was industrial. Because of this the North and South disagreed on trade policies. What was Reconstruction and when did it take place? Reconstruction was the period of time from 1865 to 1877 that provided for the political reorganization of the former Confederate states as well as their incorporation back into the union. What is a sharecropper? A sharecropper is someone who works land owned by someone else for a share of the profits of the crop. What was the Great Depression? The Great Depression was a period of economic depression brought about by a worldwide economic decline and the crash of the U.S. stock market in1929. It did not end until the United States entered World War II in 1941. What are complementary colors? Complementary colors are two colors opposite each other on the color wheel. Examples of complementary colors are red and green, yellow and violet, blue and orange. Each of these pairs completes the primary triad of red, yellow, and blue. For example, green, which is made from blue and yellow, is the complement of red.


Vocabulary • complementary colors Pairs of colors that are opposite each

other on the color wheel: red/green, blue/orange, purple/yellow.

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

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

• Reconstruction The period of time from 1865–1877 providing for the political reorganization of the former Confederate states as well as their incorporation back into the union.

• timeline A chronological sequence of events.


Pre-visit Activities A Note to the Teacher: The two activities planned for students to do before their museum visits integrate social studies, science, 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 by the activities.

Activity 1: It’s About Time. Students are asked to use a timeline in this activity. This helps them place important events in sequence and to relate them to their own lives.

The relevant QCC standards in Social Studies are as follows: Information Processing: 5.28 Determines sequences of events and identifies cause and effect

relationships. 5.29 Develops and interprets charts, tables, timelines, graphs, diagrams, and

other graphic aids. Time and chronology: 5.55 Makes timelines sequencing a series of events.

Activity 2: Looking at The River. This activity focuses on The River, a landscape painting by Augusta artist Edward Rice. As they look at and discuss the artwork, students will discuss the importance of the Savannah River to Augusta’s development and economy.

The relevant QCC standards are as follows: Characteristics of Regions: 5.9 Relates how natural resources and physical features influence human

activity in each region of the United States. Culture: 5.25 Gives examples and demonstrates how culture in the United States is

reflected through art, music, and literature during different historical periods.

Activity 3: The Civil War News. Students are asked to use a KWLH chart in this activity in order to create a newspaper in a later activity. This activity helps them write down the information they know about the Civil War and raises questions regarding the information they would like to know.

The relevant QCC standards are as follows: History: 5.12 Identifies causes, key events, and effects of the Civil War and

Reconstruction with emphasis on: • Economic and philosophical differences between the North and the South • Major leaders on both sides of the war • Critical developments in the war • Life on the battlefield and on the home front • The effects of the 13th,14th, and 15th Amendments to the U.S. Constitution,

and • The impact of Reconstruction policies on the South.

Information Processing: 5.37 Formulates questions related to topic. Problem Solving: 5.41 Collects evidence using appropriate, reliable data. Other applicable QCC standards are 5.29, 5.32, 5.33, 5.34, 5.35, and 5.54.

Activity It’s About Time

Focus: This activity will help students become familiar with reading and constructing a timeline. Also, they will relate important historical events to personal events. Completing this short activity will make their museum trip more meaningful by acquainting them with important events in Georgia history. Objectives: Students will: 1. arrange in chronological order important events in Georgia history and family

history; 2. learn to construct and use a timeline; and 3. become aware of key events in Georgia history. Materials: Student copies of the timeline in this packet Procedures: 1. Explain the concept of a timeline. 2. Briefly discuss the events shown on the timeline. Have the students look up

and enter the exact dates of the events. 3. Have them mark the dates for their birth year, the year one of their parents

was born, and the year one of their grandparents was born. 4. Have them look up and record on the timeline the year the Civil Rights

Movement began. 5. Save the timeline to enter new dates after the museum visit. Evaluation: Did the students record the correct dates on the timeline?

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

An Augusta Landscape: A Study of The River

By Edward Rice Focus: The students will discuss how this painting describes an important feature of the Augusta landscape and how the landscape influences the economic activity and development of Augusta, specifically, and, more generally, of any region. Objectives: Students will: 1. recognize that physical features of a region, in this case the Savannah River,

affect the history, economy, and development of that region; 2. discuss economic interdependence; 3. understand how important land and water conservation is in relation to the

quality of our lives and in the economic health of our region; 4. recognize the complementary color relationships used in The River; and 5. create a landscape using foreground, middle ground, and background. Materials needed: Transparency of The River, by Edward Rice (in resource packet), overhead projector, The River worksheet, Draw a Landscape worksheet, and drawing materials such as paper and crayons, markers, or colored pencils. Procedures: 1. While looking at the transparency of The River have students complete the

worksheet. They may work in groups or individually. This will guide them through “reading” the painting.

2. Continue the discussion of the painting by explaining that the river in the title of the work refers to the Savannah River. Explain the importance of the river in the settlement of Augusta. Because the river is shallow above the rapids, Augusta was a trading post for Native Americans and early European settlers. Since the river is navigable from the Atlantic Ocean to the fall line, it was important as a highway to ship goods to and from Savannah. Much more information about the importance of the river may be found in the “Augusta Canal” pamphlet that is in the resource packet. A good activity would be to contrast the use of the river today and in the past.

3. Have the students draw a landscape using the “Draw a Landscape” worksheet as a guide. Students will need drawing materials to complete their drawing.

Student Worksheet Activity 2

Looking at The River Worksheet

Description:

When I look at this painting, seems closest to

me. Artists call this area the foreground. The area that looks farthest away is

called the background. The artist shows in the background.

The area between the foreground and the background is called the middle

ground. I see in this space. The trees

get (larger, smaller) as they become more distant. The trees make different kinds

of lines. Words I could use to describe the lines are . The

dominant direction of the lines of the trees is (horizontal, vertical). This gives the

painting a kind of rhythm. Besides the dominant direction of the trees, the artist

has some features of the painting going in the opposite direction. They are

. The colors I see most in the painting are

and . These colors are opposite each other on the color wheel,

which makes them seem brighter. These are called complementary colors. The

place in the painting where the color is the lightest is . The

place where the color is darkest is .

Interpretation:

The mood of this painting seems

because . If the color of the trees were changed to gray

and the river were a muddy green, the mood would change to

. The artist’s birth date is . (Place this date on the

time line.) Something important happened in the South during the first ten years

of Edward Rice’s life. It was the Movement.


Draw a Landscape Edward Rice was able to create a sense of space in his painting by showing objects in the foreground, middle ground, and background. You can show space in your drawing by using the same technique.

2. Create a sense of distance by putting objects in the foreground, middleground, and background. Make the middle ground and background shapes smaller than the foreground shapes.

1. Decide whether your drawing will be tall or wide. Lightly draw in the largest,

most important shapes.

3. Add details. Just as Edward Rice did in The River, use color to create a certain mood.

Activity 3 The Civil War News

Focus: The students will use the information gained from their textbook, additional resource materials, and class discussion to construct a KWLH chart on the Civil War. Objectives: Students will: 1. participate in a discussion on prior knowledge of the Civil War; 2. compile a list of questions pertaining to events of the Civil War; 3. learn to construct and use a KWLH chart; and 4. become aware of key events of the Civil War. Materials needed: Pencil, paper, textbook, KWLH dry-erase chart or chalkboard & chalk, journal Procedures: 1. Construct a KWLH chart on chalkboard, overhead, or butcher paper.

• K—What you already know • W—What you want to know • L—What you have learned • H—How did you find out/How did you learn it

2. Have a class discussion charting prior knowledge of events during the Civil War.

3. After reading the chapter in the textbook, have the students compile a list of questions to which the class would like to have answers. Try to guide them toward critical events in the Civil War.

4. Students should take journals to the museum visits in order to take notes and answer the KWLH questions.

5. After returning to class have students review notes from their journals and consult their textbook while working as a group to answer questions under “L” and “H” categories.

Evaluation: 1. Did students take notes in their journals during their museum visits? 2. Did students actively participate in the class discussion?


KWLH Chart K W L H

Georgia Studies

5th Grade Post-visit Activities

A Note to the Teacher: The following activities are designed for use after the students have visited the museums, and they will help consolidate some of the information learned in this unit. In addition, they will help assess what the students have learned. Activity 4: It’s About Time, Continued is a continuation of the timeline begun before visiting the museums. This activity will help students place historical events studied at the Augusta Museum of History and the artwork observed at the Morris Museum of Art in historical context. The relevant QCC standards in Social Studies are as follows: Information Processing: 5.28 Determines sequences of events and identifies cause and effect

relationships. 5.29 Develops and interprets charts, tables, timelines, graphs, diagrams, and

other graphic aids. 5.55 Makes timelines sequencing a series of events. Activity 5: Stepping into History will help students 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: 5.27 Develops outlines through reading, listening, or viewing. 5.28 Determines sequences of events and identifies cause and effect

relationships. 5.29 Selects and discusses the main idea from a reading passage or listening

activity. 5.41 Collects evidence using appropriate, reliable date. Activity 6: Working Together will help students to better understand how people in the American economic system are interdependent. Using a storyboard, they will trace the path of cotton from the fields to finished product to the consumer and relate this cycle to paintings seen in the Morris Museum and artifacts in the Augusta Museum of History.

The relevant QCC standards in Social Studies are as follows: Economics: 5.4 Explains how people in the United States participate in basic economic

interdependence. Information Processing: 5.28 Determines the sequence of events and identifies the cause and effect

relationships. Activity 7: The Civil War News, Continued is a continuation of Activity 3, which students began before visiting the museums. This activity helps students use the information they have obtained through museum visits, reading, research, and classroom discussion to create a newspaper from the Civil War era. The relevant QCC standards are as follows: History: 5.13 Identifies causes, key events, and effects of the Civil War and

Reconstruction with emphasis on: • Economic and philosophical differences between the North and the South • Major leaders on both sides of the war • Critical developments in the war • Life on the battlefield and on the home front • The effects of the 13th,14th, and 15th Amendments to the U.S. Constitution,

and • The impact of Reconstruction policies on the South. Information

Processing: 5.28 Determines sequences of events and identifies cause and effect

relationships. 5.33 Analyzes interpretations of the same event from multiple types of sources. Problem Solving: 5.41 Collects evidence using appropriate, reliable data.

Activity 4 It’s About Time, Continued

Focus: This activity, a continuation of Activity 1, provides additional practice in using a timeline and in sequencing. Also, it will help students process some of the information they learned at the museums. Objectives: Students will: 1. arrange in chronological order important events in Georgia history. 2. learn to construct and use a timeline. 3. become aware of key events in the history of the South and especially of

Georgia. Materials: Copies of the timeline first used in Activity 1, “Augusta Canal” pamphlet, Activity 4 worksheet; additional resources such as encyclopedias, history texts, etc. Procedures: 1. Remind students of the concept of a timeline. 2. Have students complete number one on the Activity 4 worksheet. Guide them

in using a variety of resources to find the answers. For example, the Augusta Canal pamphlet in your resource packet will help them answer the first question. Go over the worksheet to make sure their answers are correct.

3. Direct them to place these dates in the proper place on the timeline. 4. Help them complete number three on the worksheet. These answers may be

found in the artist biographies in the study guide. Evaluation: 1. Did the students complete the worksheet correctly? 2. Did the students record the correct dates on the timeline?

Student Worksheet

Activity 4 It’s About Time, Continued

1. When did the following events happen?

• The Augusta Canal was built in ______________.

• It was expanded in ___________________.

• Sibley Mill was built in __________.

• Reconstruction occurred between _________ and ___________.

• The Great Depression occurred between the years ______ and _______.

• Susan Still piloted a NASA shuttle in ___________.

2. Find the correct place on the timeline to mark these events. Mark them below the timeline.

3. Using the timeline, see if you can locate the time periods in which these paintings were created. Mark them in the space above the timeline.

• The Price of Blood • Surprise Attack Near Harper’s Ferry • From This Earth • Bargain Basement • The Mill

Activity 5 Stepping into History

Focus: The students will use the information gained from both museums as well as additional resource material to write a first person account of a historical event or person. By choosing their own event, they will be able to learn about an area of history that appeals to them. Also, this will help them connect emotionally with history. Objectives: Students will: 1. choose from the list on the worksheet an historical event or person in history

that interests them. 2. collect information about the historical event or person that they have chosen. 3. imagine what it was like to live during the time of this event or person. 4. Write a first person account as if they lived at this time or as if they were the

person whom they selected. Materials needed: “Stepping into History” worksheet, pencils, paper, reference material (see bibliography for suggestions.) Procedures: 1. Discuss briefly the events and people on the “Stepping into History”

worksheet. Guide the students to remember what they learned about them in the museums.

2. Allow the students to select from the sheet the event or person they would like to write about.

3. Have the students use reference materials to learn more about their subject. Help them understand the difference in primary and secondary sources, and, if possible, give them the opportunity to use both.

4. Guide the students to imagine living during the time of the event or person they picked. Prompt students to recall what occurred, how one felt, what clothing one would have worn, the setting, etc. Remind students to use their five senses to put themselves in the historical time and place of the event.

5. Have the students use the information from the museum visits and from the reference material to make an outline and then to write a first person account of the event or person they have chosen.

Evaluation: 1. Did the students portray the time and people accurately? 2. What details did the students include to show that they understood the time

period and event? 3. What sources did the students use to ensure historical accuracy?

Activity 5 Student Worksheet

Stepping into History Read the following list and try to connect the statements with what you saw and heard on your visits to the museums. Choose one that interests you. Try to find out more information about the subject. After you have gathered all the information you need, make an outline of it. Write about your subject as if you were there. I am one of the soldiers in Surprise Attack Near Harper’s Ferry. I am a Chinese immigrant working on the Augusta Canal. I lived during the Great Fire of Augusta. I am Bobby Jones, golfer and architect of the Augusta National Golf Course. I am a textile mill worker. I am one of the people in Bargain Basement. I am one of the field workers in From This Earth. I am Susan Still, NASA pilot.

Activity 6 Working Together

Focus: Students will illustrate visually how people in the American economic system are interdependent. They will trace the path of cotton from the fields to finished product to the consumer and relate this cycle to paintings seen in the Morris Museum and artifacts in the Augusta Museum of History. Objectives: Students will: 1. discuss economic interdependence as cotton goes through the cycle of

farming, ginning, textile mill processing, retailing, and consuming; 2. relate this process to the art and artifacts seen at the museums; and 3. visually describe this process in sequenced drawings. Materials needed: Transparency of From This Earth by Lamar Dodd, overhead projector, “Storyboard Worksheet,” enlarged if possible, drawing paper, drawing materials such as colored pencils, markers, or crayons. Procedures: 1. Discuss economic interdependence using cotton as an example. Stress the

sequence of events in the manufacturing of cotton goods. This will teach the concept of economic interdependence as well as highlight the importance of cotton to the economy of Georgia.

2. Show the transparency of From This Earth by Lamar Dodd while reviewing the art and artifacts relating to the cotton industry that the students viewed at the two museums.

Production: 1. Guide the students in sequentially depicting the cotton cycle from planting to

consuming. Have them try out their ideas on drawing paper and then use the “Storyboard Worksheet” to show the cycle sequentially, like events in a comic strip. Encourage them to lightly draw all the scenes in the sequence before they add color and details. It is important to see the big picture first and then add details. Some students will want to augment the cycle with a story, and some cycles may be more complex than others.

2. Display the drawings and discuss the sequence of events and the economic interdependence of the workers and consumers.

Evaluation: 1. Does the drawing express the important steps in the growing of cotton and

production of goods? 2. Are the steps shown in a logical sequence? 3. Does the student exhibit understanding of economic interdependence?

Student Worksheet

Activity 6 Storyboard Worksheet

Activity 7 The Civil War News, Continued

Focus: The students will use the information gained from visits to both museums as well as additional resource materials to write a class newspaper based on events of the Civil War through the use of Microsoft Publisher© and a KWLH chart. By choosing their own event about which to write, students will be able to learn about a topic that appeals to them. Students will also share their knowledge by compiling the information into a newspaper format for distribution. Objectives: Students will: 1. choose one historical event from the Civil War about which to write; 2. collect information through their museum visits and from encyclopedias,

textbooks, and the Internet; and 3. write a newspaper article on an historical event from the Civil War to create a

class newspaper. Materials: Pencil, paper, computer, Microsoft Publisher©, Internet, textbook, reference materials from media center, KWLH chart, journals Procedures: 1. Review findings from the KWLH chart. 2. Create a list of historical events from the Civil War. 3. Students choose one event of interest. 4. Have students use reference materials, textbooks, and the Internet to collect

information. 5. Give guidelines (when, where, who was involved, who was affected, etc.) to

assist students in their research. 6. Have students use the information to write an article about the event. You

may choose to assign a particular style of writing (i.e., editorial, persuasive, etc.).

7. Complete the writing process (draft, revise, edit, etc.). 8. Using the newspaper template in Microsoft Publisher©, have students type

their finished article into the template. You may or may not want to import pictures from the Internet to add to the newspaper depending on available space and/or time.

9. Edit, print, and distribute to students and send home to their parents. 10. Have students read their articles aloud to the class. Evaluation: 1. Did students collect the information from more than one source? 2. Did students follow the writing process? 3. What details did students include to show understanding of the event? 4. Was the information accurate?

LAMAR DODD (1909–1996) Bargain Basement 1937 Oil on canvas 46 x 55 inches 1992.033 From this Earth 1945 Oil on canvas 24 x 39 ½ inches 1990.063 Artist Biographical Information: • Born September 22, 1909, in Fairburn, GA; his parents moved shortly after

his birth to LaGrange (3) • Studied at LaGrange College, the Georgia School of Technology (now

Georgia Institute of Technology), 1926–1927, at the Art Students League in New York, 1928–1930 and 1931–1933, and was taught privately by George Luks, Charles Martin, and others associated with the “Ashcan School;” Dodd’s instructors at the Art Students League included John Steuart Curry, Jean Charlot, and Boardman Robinson (1)

• First major exhibition was at the High Museum of Art in 1931 (1) • Moved to Alabama in 1933 with his wife Mary to manage an art supply store;

during his time in Alabama, he painted in his spare time; Dodd and Anne Goldthwaite were the only artists from Alabama to be included in the First National Exhibition of American Art, held in 1936 at New York’s Rockefeller Center (3)

• Completed artist residencies at the Colorado Springs Fine Arts Center, 1937, and at the University of Georgia, also in 1937

• Chaired the University of Georgia’s Department of Art from 1938 to 1973; was recognized as the Regents Professor Emeritus of Art and Chairman Emeritus of the Fine Arts Division, University of Georgia, 1976-1996

• Traveled to Europe in the early 1950s • Was invited by NASA in the 1960s to witness, document, and record the

developing space program • In the 1960s Dodd served as a cultural ambassador for the nation on state

department-sponsored trips to Russia, Turkey, India, Korea, China, and Japan (4)

• Died in Athens, GA General Characteristics of his Work: • Used nature and the broad human scene as subjects; landscape paintings in

particular reflect an awareness of the “Regionalist” approach to the American landscape

• Early works from the 1930s and 1940s reveal synthesis of two schools of American art: the Ashcan School’s palette of grays and browns and the Regionalists’ and American Scene’s subject matter and thematic concerns; during this time, subject matter included still life, figure, and urban and rural landscape (1)

• “Ashcan School” refers to a group of American painters active from about 1908 until the first World War; was inspired by Robert Henri; nucleus formed by group The Eight, which Henri founded; interest in depicting the city’s slum life and outcasts identifies the artists as members of Ashcan School (5)

• “American Scene” is term applied to the work of various painters who in 1920s and 1930s depicted aspects of American life in naturalistic, descriptive way; Charles Burchfield and Edward Hopper are among the best known exponents; Regionalists, more self-conscious in their nationalism, are also embraced by this term (5)

• “Regionalism” was a movement in American painting in which artists concentrated on realistic depiction of scenes from the American Midwest and deep South; this movement flourished during the 1930s and early 1940s; the motivation of Regionalists, like that of all American Scene painters, derived from a patriotic desire to establish a genuinely American art by the utilization of American subject matter; prominent Regionalists were Thomas Hart Benton, Grant Wood, and John Steuart Curry (5)

• In late 1940s, there was a philosophical and technical change in work; begins to “fragment reality” and becomes less literal in representation; shapes become more “elemental” and brushstrokes become more abrupt and shorter (1)

• By the 1960s Dodd approaches, but doesn’t reach, complete abstraction (1) About From This Earth: • Painted by Lamar Dodd after his move to Georgia; shows workers picking

cotton • Excellent example of technical and philosophical changes in his late 1940s

work; colors and shapes are more elemental and representation less literal than in earlier works

About Bargain Basement: • An excellent example of a Regionalist work by Dodd • This work was painted during Dodd’s residency in Birmingham. The painting

depicts the bottom floor of Pizitz Department Store, formerly on 20th Street. Dodd had in mind Silvia Pizitz, one of the daughters of the store’s founder, when he painted the blonde woman on the far left. Silvia Pizitz was a friend of the artist and was an art collector and patron. (3)

Artist Quotation:

Understand always that subject matter alone will not make a great painting; but great paintings can be made from subjects in Birmingham and Alabama just as quickly as from subjects in France and England or anywhere else. It’s amazing how the people of the South refuse to see the startling beauty in this part of the country. (1936) (2)

Sources: 1. Eiland, William. Lamar Dodd: Georgia’s Own. Exhibition catalogue.

Gainesville, GA: Brenau University Galleries/Brenau University, 1993. 2. King, Anne. A Shared Vision: The Life and Art of Lamar Dodd. LaGrange, GA:

Lamar Dodd Art Center, 1996. 3. Eiland, William. The Truth in Things. Athens, GA: The University of Georgia

Press, 1996. 4. Eiland, William. “Lamar Dodd’s Odyssey, 1909-1996.” Georgia Magazine

(December 1996): 10 – 16. 5. Chilvers, I., and H. Osborne. The Oxford Dictionary of Art. New York: Oxford

University Press, 1988.

Artist information sheet prepared by Patricia Moore, 2000.

JOHN MOONEY (ca. 1843–1918) Surprise Attack near Harper’s Ferry ca. 1868 Oil on canvas 54 1/8 x 96 ¼ 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 his 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, then the Morris Curator of Southern Painting, and Robert Kuhar, Morris Communications Corporation 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.

THOMAS SATTERWHITE NOBLE (1835–1907) The Price of Blood 1869 Oil on canvas 39 ½ x 49 ½ inches 1989.03.237 Artist Biographical Information: (1) • Born in Lexington, Kentucky, at a time when Lexington was the center of

Kentucky’s slave trade • Son of a prosperous hemp and cotton farmer who also operated a rope and

bagging factory in St. Louis; slaves were used in the Noble factory as hired hands through contract for hire arrangement with slave traders in Lexington; family’s home in Lexington was only minutes away from the courthouse, where local slave trading activities occurred

• Slaves lived on the elder Noble’s land in small cabins at the back of the family home. It was in these cabins the child, Thomas Noble, would play with the slave children and listen to their elders tell wonderful ghost stories after dark. Often he would bring biscuits in trade for an accompanied journey back to the main house after a night of scary ghost stories

• Noble family moved to Louisville, KY, 1849 • During adolescent years studied with Samuel Woodson Price (1828–1918) in

Louisville; Price was a former disciple of Kentucky’s famous portrait painter Oliver Frazer (1808–1864), who had studied with Baron Gros in Paris and became acquainted with and influenced by George Healy and Thomas Couture

• Noble family moved to St. Louis, 1856 • Studied with Thomas Couture in Paris, 1856–1859; Thomas Couture, a very

politically and socially aware artist, attracted highly intelligent students with profound political and social convictions; many of Couture’s students show a strong interest in African subjects

• Noble returned to St. Louis in 1859. He was 26 at the start of the Civil War • Served as a captain in the Confederate Army, 1861–1865; Noble repatriated

in New Orleans and returned to St. Louis, 1865; of note, Noble believed in civil rights, but he also believed in states’ rights

• Moved to New York City, 1866 • Spent summer painting with George Inness in the Catskills, 1868; appointed

as head of the McMicken School of Art in Cincinnati, Ohio, in the same year • Traveled to Munich in 1881, returning to Cincinnati in 1883 • Retired from McMicken School, 1904, and moved to Bensonhurst, New York • Died, New York City

General Characteristics of the Artist’s Work: (1) • Returned to painting after the war; painted a series of paintings depicting the

inhumane treatment of the African-American slave population; these paintings sold well to a Northern market interested in paintings with slave subjects; Albert Boime suggests that Northern businessmen and merchants may have sought such images to display their liberal sympathies and support of Reconstruction

• His art demonstrates a compassion for persecuted people, unemployed workers, and family traumas

• The underlying theme in his art deals with direct experience and social ideals. About The Price of Blood: • Title of work is drawn from Harriet Beecher Stowe’s Uncle Tom’s Cabin; it is

taken from Stowe’s character Cassy who, when shown the money obtained from the sale of her children by their master, calls it “the price of their blood” (2)

• Painting contains numerous allegorical symbols that, when read by a viewer, tell the story of a sale of a mixed race slave by his father and master, who has just completed negotiations with a slave agent; pose of slave is reminiscent of Gainsborough’s Blue Boy, a gesture that would have been regarded as ironic by 19th century viewers (1)

• Painting on the rear wall of the sacrifice of Isaac by his father Abraham underscores the relationship of the slave and master; Pennington suggested a further connection between Abraham and miscegenation: Abraham abandoned Ishmael, a son born of a miscegenetic relationship with his servant Hagar (3)

• A contemporary debate over “amalgamation,” sparked by the pamphlet Miscegenation, published at the end of 1863, may have influenced Noble; the anonymous writers of the pamphlet argued for interracial unions; the debate revealed Northern insistence that the source of mulattoism in the U.S. had been the institution of slavery (1)

• Painting was exhibited in New York, Boston, Philadelphia, Cincinnati, and Chicago before its sale to a Scottish collector (1)

Sources: 1. Birchfield, James, Albert Boime, and William Hennessy. Thomas Satterwhite

Noble, 1835–1907. Lexington, KY: University of Kentucky Art Museum, 1988. 2. Pennington, Estill Curtis. A Southern Collection. Augusta, GA: Morris

Communications Corporation, 1992. 3. Pennington, Estill Curtis. Look Away: Reality and Sentiment in Southern Art.

Atlanta, GA: Peachtree Publishers, 1989.

Artist information sheet prepared by Dorothy Eckmann and Patricia Moore, 2000.

EDWARD RICE (1953–) The River 1994 Oil on canvas 48 x 48 inches 1994.015 The Mill 1994 Oil on canvas 48 x 12 inches 1994.016 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, maintains

studies in North Augusta. • 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; relocated 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; renovated 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.

-Edward 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.


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 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. All horizontal lines that are parallel in nature converge on the horizon line at one or more vanishing points.

• middle ground The part of a painting or other image that seems to occupy the space between the foreground and background.

• 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.


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. • 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, and/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 political reorganization of the former Confederate states as well as their incorporation 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

Corporation, 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. and 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, Alethia. 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. Blackard, William C., Thomas Huckabee and Gerald J. Smith, Ph.D. Images of

America: Columbia County, Georgia. Acadia Press, 2000. 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 A. Ray Rowland. 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 Helen Callahan. A History of Augusta College. Augusta

College Press, 1976. Cashin, Edward J. and Heard Robertson. 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. Coulter, Ellis Merton. Old Petersburg and the Broad River Valley of Georgia:

Their Rise and Decline. University of Georgia, 1965. 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, Marguerite 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.

Greene, Loehr, and Montgomery. An Augusta Scrapbook: Twentieth-Century

Memories. Arcadia Publishing, 2000. Haltermann, Bryan M. From City to Countryside: A Guidebook to the Landmarks

of Augusta, Georgia. Lamar Press, 1997. Hudson, Charles. The Southeastern Indians. The University of Tennessee Press,

1976. Hudson, Charles and Carmen Chaves Tesser, ed. The Forgotten Centuries:

Indians and Europeans in the American South 1521–1704. The University of Georgia Press, 1994.

Hudson, Joyce Rockwood. Looking for DeSoto: A Search through the South for

the Spaniard’s Trail. University of Georgia, 1993. Jones, Charles C., Jr. and Salem Dutcher. 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 and Richard Keeton. 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. -----. Augusta and Summerville. Acadia Publishing, 2000. 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. Nowell, Alethia Bigbie. Trustees of the Town: The Story of the Richmond

Academy Trustees 1780–1998. CI Publishing, 1999. Parker, Barry. For the People, The Commitment Continues: The Story of

University Hospital. University Hospital, 1993. Rowland, Arthur Ray, ed. Historical Markers of Richmond County, Georgia.

Richmond County Historical Society, 1971. -----. 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. Master’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 at Augusta State University; Richmond County Historical Society Collections. Compiled by the Augusta Museum of History, September 2000, Updated March 2001.

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 the enslaved, African-American potter, Dave. Augusta Museum of History.

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


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