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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

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.

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

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

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

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

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

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

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

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

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

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

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

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