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Jean-François Millet, Peasants Bringing Home a Calf Born in the Fields, 1864, oil on canvas, 81.1 x 100

Chicago.Jean-François Millet, Peasants Bringing Home a Calf Born in the Fields, 1864, oil on canvas, 81.1 x 100

Jules Adolphe Breton, The Song of the Lark, 1884, oil on canvas, 81.1 x 100 cm, Henry Field Memorial

the Art Institute of Chicago.Jules Adolphe Breton, The Song of the Lark, 1884, oil on canvas, 81.1 x 100

negotiate the total image: “all the normal ways in which pigment, texture, and tone declare a likeness” (100

. identities the culture wished to keep still, pre-eminently those of the nude and the prostitute” (100

is generally uninterested in and largely uninvolved in the “domestic drama” (The Professor’s House 100

leaves, red California grapes, and two shapely, long-necked russet pears,” served with linen napkins (100

the seamstress Augusta to clarify the difference between the Magnificat and the litany of Loreto (99–100

It was indeed a feast of modern art: 170 paintings plus 100 drawings and watercolors that collectively

as noted, was Pyle’s second medieval book, Otto of the Silver Hand, published in 1888 (fig. 4.2, p. 100

seemed fluid to the eye under this constant change of accent, this ever-varying distribution of light” (100

” (written 1916), whom managers chose less for her artistry than for her conscientious reliability (100

like the stealthy cadet, stalks the Forresters as they “come down in the world like the rest” (Lost 100

the fact that he is “just mean enough to like to shoot along” their creek more than anywhere else (100

Moreover, he employs art (145), an artist (177), and a novelist (100) in other philosophical comparisons

lets itself live, when it refrains from separating its present state from its former states” (Time 100

tapestry than in “the big pattern of dramatic action” enacted by its knights and heroes (Professor’s House 100

Lincoln: U of Nebraska P, 1996. 100–114.Slote, Bernice, and Virginia Faulkner, ed.

seemed fluid to the eye under this constant change of accent, the ever varying distribution of light” (100

continual circling” and freedom to “go backward and forward” from one pole to its opposite (“Joseph” 100

The circumstances leading to the discovery, restoration, and display of these tapestries (Cavallo 100

In The Professor’s House, Cather comments on this aspect of the Bayeux tapestry (100).

See Boudet 5–7.The Bayeux tapestry is mentioned in The Professor’s House (100).Relative to these virtues

’s survival has to do with his final conscious transcendence of this conflict (Cather’s Imagination 100

One of Ours 421–22 with Cather’s earlier description in Willa Cather in Europe 93–100).

absolute and infinitely sweet,” “vested with a peace that passes understanding” (Willa Cather in Europe 100

New York: Knopf, 1956. 93–100.Cather, Willa. Letters to Dorothy Canfield Fisher.

New York: Knopf, 1956. 90–100.Lewis, Edith. Willa Cather Living.

on him”; his mother, too, feels that circumstances have conspired to ensnare her son in “a net” (99–100

on the point of being brought together, on the eve of being arranged into mountain, plain, plateau” (100

the pagan/Judeo-Christian symbol of the spherical censer to the mesas and their “attendant clouds” (100

PMLA 100 (1985): 51–67.Smetanova, J. “Beloved Artist.” Art and Artists 13 (1978): 53.Stouck, David.

industry, most of whom by the 1890s were attending prestigious preparatory schools elsewhere (Couvares 100

$3,000 for repairs to the high school’s physical plant, $1,000 for fuel, $2,500 for janitor services, $100

close, and was tainted with gaseous odors which had been tormented forth by the processes of science. (100

might have looked like this when the dry land was drawn up out of the deep, and all was confusion. (99–100

Brown.See Gates,“Dis and Dat” (100).

In 1896, soon after her arrival in Pittsburgh, an editor from Cosmopolitan offered her $100 for her story

Population of the 100 Largest Cities and Other Urban Places in the United States: 1790 to 1990.