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Edmonia Lewis: Wildfire in Marble
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From School Library Journal
Grade 6-10-An excellent documentary of the first American woman of African/Chippewa heritage to achieve international status as a sculptor. Born in 1844 or 1845, Lewis was orphaned at an early age. She was fortunate to have an older brother who encouraged her education and artistic apprenticeship. Although racism prevented her entry into good elementary and high schools, she was accepted into Oberlin College. It was here that her own work began to blossom. Later, like many African-American artists of this period, she went to Europe where she was able to study and hone her talent. Her sculptures, mostly of famous abolitionist and American heroes, were both admired and criticized. A number of black-and-white photographs and reproductions of documents are included, as is information about prominent Americans of the late 19th century who influenced and supported the sculptor. While Wolfe's book is an admirable account of the artist's life and work, the writing suffers from a dry, sometimes tedious recitation of facts.Marie Wright, University Library, Indianapolis, INCopyright 1998 Reed Business Information, Inc.
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Product details
Series: People in Focus Book
Hardcover: 128 pages
Publisher: Silver Burdett Pr; 1st edition (March 1998)
Language: English
ISBN-10: 0382397134
ISBN-13: 978-0382397134
Product Dimensions:
6 x 0.2 x 9.5 inches
Shipping Weight: 14.4 ounces
Average Customer Review:
4.3 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#2,941,282 in Books (See Top 100 in Books)
Even though this is a children's book, "Wildfire in Marble" is one of the best sources of information about the remarkable 19th century African/Ojibwe sculptor. Edmonia Lewis was an extraordinary woman, who deserves the current revival of interest in her neo-Classical sculpture. Wolfe cobbles together an engaging account of Lewis' life despite very scant information and describes hardships that Lewis faced and overcame. Wolfe across traces some of the journeys Lewis' sculptures made through the last century, especially the rediscovery of her monumental "Death of Cleopatra."
The best book on Edmonia and I have turned others on to it too. Great for kids and adults. So few women, native-americcan, black sculpture role models. This tells an important story lovingly.
Like Zora Neale Hurston, Edmonia Lewis was a female artist of color whose work and name was unknown for decades. Wolfe's work, like Walker's work for Hurston, tries to change this. Because little is known about Lewis, Wolfe can be commended for what she found. However, the many lacunae in Lewis' life will frustrate some readers.Lewis is known for being African American and Native American. Her picture appears in Katz' book "Black Indians." Even Wolfe's words imply that Lewis was half Chippewa and half Black, early in the book, Wolfe says Lewis' grandfather married a Native woman. It sounds like Lewis was 75% Black and 25% Native. The book leaves me unsure of her precise breakdown.Though educated and showing an early knack for art, Lewis can be seen as an autodidact in sculpting. She did not want to bring attention to her ethnic heritages. However, she made works with African American and Native subjects. She covered classic subjects, but modern viewers may relate with our culture of celebrity, because she also made works of contemporary famous leaders and authors.Wolfe's book never makes a statement about Lewis' sexuality. It doesn't note that she never married or had any partners. However, according to LGBTQ, one can speculate that she was lesbian. She had lesbian artist friends, she worked in a gender-atypical field, and stereotypically, some noted her "mannish" clothing. I am not sure whether Wolfe was squeamish in this matter or didn't want to guess on any subjects where she had no concrete information.In a way, the last chapter is the most important, Wolfe describes racism faced by Black men and sexism by white women in the 19th Century art world. Her point is that, as a woman of color, Lewis' achievements at the time are doubly shocking and impressive. I found many parallels between her and Frida Kahlo. Both may have been seen as "mannish" and both may have loved women. Both were biracial. Both lived in more than one nation during their lives. Both were women who made artistic works on women. Both had subjects across racial categories. Fridaholics, like myself, may especially love learning about Lewis.This work as written for young readers, perhaps those in junior high. However, at least two sources imply that this is the only booklength work on Lewis. Someone really needs to write a Lewis biography for adults. Perhaps that is where and when sexuality and gender matters may be fleshed out more effectively.
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