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Pretty Advocate of “Votes for Women” Creates Sensation with Plea for Cause Painted on Her Charming Back
Pretty Advocate of “Votes for Women” Creates Sensation with Plea for Cause Painted on Her Charming Back

Pretty Advocate of “Votes for Women” Creates Sensation with Plea for Cause Painted on Her Charming Back

Artist (American)
Artist (American photography studio, active 1882 – 1940)
Date1915
Period20th century
MediumGelatin silver print on paper (vintage)
Credit LinePurchase with funds provided by the Memorial Art Fund and the Reva B. Seybolt '72 Art Acquisition Fund
Object number2018.072
Curatorial DepartmentModern & Contemporary Art
"Votes for Women" Tour Boat
"Votes for Women" Tour Boat
Anonymous (American)
c. 1915
Object number: 2018.087
"Votes for Women" Veil
"Votes for Women" Veil
Anonymous (American)
1915
Object number: 2018.104
Group on the Steps of the Carnegie Public Library Group Just Prior to Marching to the White House to Visit President Wilson in the Cause of Women’s Suffrage
Group on the Steps of the Carnegie Public Library Group Just Prior to Marching to the White House to Visit President Wilson in the Cause of Women’s Suffrage
Anonymous (American)
1913
Object number: 2018.092
From Left to Right: Miss Gertrude S. Hunter, Secretary of the Minnesota Suffrage Association, and Margaret L. Foley, of Boston, Massachusetts, who is called the premier orator of the cause.
From Left to Right: Miss Gertrude S. Hunter, Secretary of the Minnesota Suffrage Association, and Margaret L. Foley, of Boston, Massachusetts, who is called the premier orator of the cause.
Anonymous (American)
c. 1915
Object number: 2018.099
Hattiesburg, Mississippi from the series Memories of the Southern Civil Rights Movement Fannie Lou Hamer, sharecropper from a family of twenty children, evicted from her home for applying to register to vote, severely beaten in the Winona police station, SNCC field secretary from Ruleville, and future Mississippi Freedom Democratic party candidate for Congress, marches in the cold Hattiesburg rain
Hattiesburg, Mississippi from the series Memories of the Southern Civil Rights Movement Fannie Lou Hamer, sharecropper from a family of twenty children, evicted from her home for applying to register to vote, severely beaten in the Winona police station, SNCC field secretary from Ruleville, and future Mississippi Freedom Democratic party candidate for Congress, marches in the cold Hattiesburg rain
Danny Lyon
1963/printed later
Object number: 2014.138
General Rosalie Jones in her Pilgrimage Auto "Victory"
General Rosalie Jones in her Pilgrimage Auto "Victory"
Anonymous (American)
c. 1915
Object number: 2018.066
At the New York State Suffrage function to be held at the Biltmore New York, February 16th, Florence Fleming Noyes the Exponent of Rhythmic Expression Will for the First Time be Seen in her Latest Dance “The Emancipation.”
At the New York State Suffrage function to be held at the Biltmore New York, February 16th, Florence Fleming Noyes the Exponent of Rhythmic Expression Will for the First Time be Seen in her Latest Dance “The Emancipation.”
Anonymous (American)
1914
Object number: 2018.097
Christabel Parkhurst (Left) Noted Pre-War Suffragist Agitator, Unfurls the Banner Carried by Her Militant Legions in Their Campaign in England
Christabel Parkhurst (Left) Noted Pre-War Suffragist Agitator, Unfurls the Banner Carried by Her Militant Legions in Their Campaign in England
Anonymous (American)
1929
Object number: 2018.103
500 Women Call upon Sen. O’Gorman to Draw Him to the Suffrage Ranks
500 Women Call upon Sen. O’Gorman to Draw Him to the Suffrage Ranks
Anonymous (American)
1915
Object number: 2018.059
La femme aux paupières peintes prête ses formes rondes aux dures lames de l'herbe [The Woman with Painted Eyelids Lends Her Round Forms to the Hard Blades of the Grass] from the portfolio L'Enchantement de l'été [The Enchantment of Summer]
La femme aux paupières peintes prête ses formes rondes aux dures lames de l'herbe [The Woman with Painted Eyelids Lends Her Round Forms to the Hard Blades of the Grass] from the portfolio L'Enchantement de l'été [The Enchantment of Summer]
Corneille
1977
Object number: 1979.008
62. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
62. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.062
63. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
63. Clatsop County, Oregon. Photographs are silent but the destruction of a forest is not. Pablo Neruda remembered that his “homeland of wood . . . died in the screeching of sawmills.” Barry Lopez, in describing a stranding of whales on the Oregon coast, likened the cry of a whale to “the sound a big fir makes breaking off the stump just as the saw is pulled away. A thin screech.” Landscape painter Emily Carr referred to stumps, which she painted with compassion, as “screamers.” From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.063