section

エドモニア・ルイス

Namesake of the Edmonia Lewis Center for Women and Transgender People at Oberlin College. Written about in Olio, which is a book of poetry written by Tyehimba Jess that was released in 2016. That book won the 2017 Pulitzer Prize for Poetry. Honored with a Google Doodle on February 1, 2017. Stone Mirrors: The Sculpture and Silence of Edmonia Lewis, by Jeannine Atkins , is a juvenile biographical novel in verse. A belated obituary was published in The New York Times in 2018 as part of their  The best-selling novel,  linea del colori: Il Grand Tour di fanu Brown, by Somalian Igiaba Scelgo , in Italian, combines the characters of Edmonia Lewis and Sarah Parker Remond and is dedicated to Rome and to these two figures. She features as a "Great Artist" in the video game Civilization VI. Lewis is the subject of a stage play entitled "Edmonia" by Barry M. Putt, Jr., presented by Beacon Theatre Productions in Philadelphia, PA in 2021.  Lewis had a U.S. postal stamp unveiled in her honor on January 26, 2022.

Prompt: エドモニア・ルイスの人気のないメディアを説明してください。英語で出力して下さい。

Civilization VI
Google Doodle
Oberlin College
Oberlin College
Pulitzer Prize for Poetry
Sarah
Sculpture
The New York Times
Tyehimba Jess


section

エドモニア・ルイス

Namesake of the Edmonia Lewis Center for Women and Transgender People at Oberlin College. Written about in Olio, which is a book of poetry written by Tyehimba Jess that was released in 2016. That book won the 2017 Pulitzer Prize for Poetry. Honored with a Google Doodle on February 1, 2017. Stone Mirrors: The Sculpture and Silence of Edmonia Lewis, by Jeannine Atkins , is a juvenile biographical novel in verse. A belated obituary was published in The New York Times in 2018 as part of their  The best-selling novel,  linea del colori: Il Grand Tour di fanu Brown, by Somalian Igiaba Scelgo , in Italian, combines the characters of Edmonia Lewis and Sarah Parker Remond and is dedicated to Rome and to these two figures. She features as a "Great Artist" in the video game Civilization VI. Lewis is the subject of a stage play entitled "Edmonia" by Barry M. Putt, Jr., presented by Beacon Theatre Productions in Philadelphia, PA in 2021.  Lewis had a U.S. postal stamp unveiled in her honor on January 26, 2022.

Prompt: エドモニア・ルイスはどのように人気のないメディアを説明していますか？英語で出力して下さい。

Civilization VI
Google Doodle
Oberlin College
Oberlin College
Pulitzer Prize for Poetry
Sarah
Sculpture
The New York Times
Tyehimba Jess


section

エドモニア・ルイス

Namesake of the Edmonia Lewis Center for Women and Transgender People at Oberlin College. Written about in Olio, which is a book of poetry written by Tyehimba Jess that was released in 2016. That book won the 2017 Pulitzer Prize for Poetry. Honored with a Google Doodle on February 1, 2017. Stone Mirrors: The Sculpture and Silence of Edmonia Lewis, by Jeannine Atkins , is a juvenile biographical novel in verse. A belated obituary was published in The New York Times in 2018 as part of their  The best-selling novel,  linea del colori: Il Grand Tour di fanu Brown, by Somalian Igiaba Scelgo , in Italian, combines the characters of Edmonia Lewis and Sarah Parker Remond and is dedicated to Rome and to these two figures. She features as a "Great Artist" in the video game Civilization VI. Lewis is the subject of a stage play entitled "Edmonia" by Barry M. Putt, Jr., presented by Beacon Theatre Productions in Philadelphia, PA in 2021.  Lewis had a U.S. postal stamp unveiled in her honor on January 26, 2022.

Prompt: エドモニア・ルイスに関して、どのように人気のないメディアが議論されていますか？英語で出力して下さい。

Civilization VI
Google Doodle
Oberlin College
Oberlin College
Pulitzer Prize for Poetry
Sarah
Sculpture
The New York Times
Tyehimba Jess


section

エドモニア・ルイス

John Brown medallions, 1864–65 Colonel Robert Gould Shaw , 1864 Anne Quincy Waterston, 1866 A Freed Woman and Her Child, 1866 The Old Arrow-Maker and His Daughter, 1866 The Marriage of Hiawatha, 1866–67 Forever Free, 1867 Colonel Robert Gould Shaw , 1867–68 Hagar in the Wilderness, 1868 Madonna Holding the Christ Child, 1869 Henry Wadsworth Longfellow, 1869–71 Bust of Abraham Lincoln, 1870</ref>}}22,  Asleep, 1872 Awake, 1872 Poor Cupid, 1873 Moses, 1873 Bust of James Peck Thomas, 1874, collection of the Allen Memorial Art Museum, her only known portrait of a freed slave Hygieia, 1874 Hagar, 1875 The Death of Cleopatra, marble, 1876, collection of Smithsonian American Art Museum John Brown, 1876, Rome, plaster bust Henry Wadsworth Longfellow, 1876, Rome, plaster bust General Ulysses S. Grant, 1877–78 Veiled Bride of Spring, 1878 John Brown, 1878–79 The Adoration of the Magi, 1883 Charles Sumner, 1895

Prompt: エドモニア・ルイスに焦点を当てて、その主要作品リストを説明してください。英語で出力して下さい。

Charles Sumner
Death of Cleopatra
Hagar
Henry Wadsworth Longfellow
Smithsonian American Art Museum
Abraham Lincoln
Robert Gould Shaw
Smithsonian American Art Museum
Ulysses S. Grant


section

エドモニア・ルイス

John Brown medallions, 1864–65 Colonel Robert Gould Shaw , 1864 Anne Quincy Waterston, 1866 A Freed Woman and Her Child, 1866 The Old Arrow-Maker and His Daughter, 1866 The Marriage of Hiawatha, 1866–67 Forever Free, 1867 Colonel Robert Gould Shaw , 1867–68 Hagar in the Wilderness, 1868 Madonna Holding the Christ Child, 1869 Henry Wadsworth Longfellow, 1869–71 Bust of Abraham Lincoln, 1870</ref>}}22,  Asleep, 1872 Awake, 1872 Poor Cupid, 1873 Moses, 1873 Bust of James Peck Thomas, 1874, collection of the Allen Memorial Art Museum, her only known portrait of a freed slave Hygieia, 1874 Hagar, 1875 The Death of Cleopatra, marble, 1876, collection of Smithsonian American Art Museum John Brown, 1876, Rome, plaster bust Henry Wadsworth Longfellow, 1876, Rome, plaster bust General Ulysses S. Grant, 1877–78 Veiled Bride of Spring, 1878 John Brown, 1878–79 The Adoration of the Magi, 1883 Charles Sumner, 1895

Prompt: エドモニア・ルイスの主要作品リストを説明してください。英語で出力して下さい。

Charles Sumner
Death of Cleopatra
Hagar
Henry Wadsworth Longfellow
Smithsonian American Art Museum
Abraham Lincoln
Robert Gould Shaw
Smithsonian American Art Museum
Ulysses S. Grant


section

エドモニア・ルイス

John Brown medallions, 1864–65 Colonel Robert Gould Shaw , 1864 Anne Quincy Waterston, 1866 A Freed Woman and Her Child, 1866 The Old Arrow-Maker and His Daughter, 1866 The Marriage of Hiawatha, 1866–67 Forever Free, 1867 Colonel Robert Gould Shaw , 1867–68 Hagar in the Wilderness, 1868 Madonna Holding the Christ Child, 1869 Henry Wadsworth Longfellow, 1869–71 Bust of Abraham Lincoln, 1870</ref>}}22,  Asleep, 1872 Awake, 1872 Poor Cupid, 1873 Moses, 1873 Bust of James Peck Thomas, 1874, collection of the Allen Memorial Art Museum, her only known portrait of a freed slave Hygieia, 1874 Hagar, 1875 The Death of Cleopatra, marble, 1876, collection of Smithsonian American Art Museum John Brown, 1876, Rome, plaster bust Henry Wadsworth Longfellow, 1876, Rome, plaster bust General Ulysses S. Grant, 1877–78 Veiled Bride of Spring, 1878 John Brown, 1878–79 The Adoration of the Magi, 1883 Charles Sumner, 1895

Prompt: エドモニア・ルイスはどのように主要作品リストを説明していますか？英語で出力して下さい。

Charles Sumner
Death of Cleopatra
Hagar
Henry Wadsworth Longfellow
Smithsonian American Art Museum
Abraham Lincoln
Robert Gould Shaw
Smithsonian American Art Museum
Ulysses S. Grant


section

エドモニア・ルイス

John Brown medallions, 1864–65 Colonel Robert Gould Shaw , 1864 Anne Quincy Waterston, 1866 A Freed Woman and Her Child, 1866 The Old Arrow-Maker and His Daughter, 1866 The Marriage of Hiawatha, 1866–67 Forever Free, 1867 Colonel Robert Gould Shaw , 1867–68 Hagar in the Wilderness, 1868 Madonna Holding the Christ Child, 1869 Henry Wadsworth Longfellow, 1869–71 Bust of Abraham Lincoln, 1870</ref>}}22,  Asleep, 1872 Awake, 1872 Poor Cupid, 1873 Moses, 1873 Bust of James Peck Thomas, 1874, collection of the Allen Memorial Art Museum, her only known portrait of a freed slave Hygieia, 1874 Hagar, 1875 The Death of Cleopatra, marble, 1876, collection of Smithsonian American Art Museum John Brown, 1876, Rome, plaster bust Henry Wadsworth Longfellow, 1876, Rome, plaster bust General Ulysses S. Grant, 1877–78 Veiled Bride of Spring, 1878 John Brown, 1878–79 The Adoration of the Magi, 1883 Charles Sumner, 1895

Prompt: エドモニア・ルイスに関して、どのように主要作品リストが議論されていますか？英語で出力して下さい。

Charles Sumner
Death of Cleopatra
Hagar
Henry Wadsworth Longfellow
Smithsonian American Art Museum
Abraham Lincoln
Robert Gould Shaw
Smithsonian American Art Museum
Ulysses S. Grant


section

エドモニア・ルイス

Art of the American Negro Exhibition, American Negro Exposition, Chicago, Illinois, 1940. Howard University, Washington, D.C., 1967. “The White, Marmorean Flock”: Nineteenth-Century Women Neoclassical Sculptors," Vassar College, New York, 1972. Michael Rosenfeld Gallery, New York, 2008. Edmonia Lewis and Henry Wadsworth Longfellow: Images and Identities at the Fogg Art Museum, Cambridge, Massachusetts, February 18 –May 3, 1995. Smithsonian American Art Museum, Washington, D.C., June 7, 1996 – April 14, 1997. Wildfire Test Pit, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, August 30, 2016 – June 12, 2017.Hearts of Our People: Native Women Artists, , Minneapolis Institute of Art, Minneapolis, Minnesota, United States. Edmonia Lewis' Bust of Christ, Mount Stuart, UK

Prompt: エドモニア・ルイスに焦点を当てて、その死後展覧会を説明してください。英語で出力して下さい。

American Negro Exposition
Chicago
Henry Wadsworth Longfellow
Howard University
Minneapolis
Minneapolis Institute of Art
Smithsonian American Art Museum
Oberlin, Ohio
Oberlin College
Oberlin College
Smithsonian American Art Museum
Vassar College
Washington, D.C.


section

エドモニア・ルイス

Art of the American Negro Exhibition, American Negro Exposition, Chicago, Illinois, 1940. Howard University, Washington, D.C., 1967. “The White, Marmorean Flock”: Nineteenth-Century Women Neoclassical Sculptors," Vassar College, New York, 1972. Michael Rosenfeld Gallery, New York, 2008. Edmonia Lewis and Henry Wadsworth Longfellow: Images and Identities at the Fogg Art Museum, Cambridge, Massachusetts, February 18 –May 3, 1995. Smithsonian American Art Museum, Washington, D.C., June 7, 1996 – April 14, 1997. Wildfire Test Pit, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, August 30, 2016 – June 12, 2017.Hearts of Our People: Native Women Artists, , Minneapolis Institute of Art, Minneapolis, Minnesota, United States. Edmonia Lewis' Bust of Christ, Mount Stuart, UK

Prompt: エドモニア・ルイスの死後展覧会を説明してください。英語で出力して下さい。

American Negro Exposition
Chicago
Henry Wadsworth Longfellow
Howard University
Minneapolis
Minneapolis Institute of Art
Smithsonian American Art Museum
Oberlin, Ohio
Oberlin College
Oberlin College
Smithsonian American Art Museum
Vassar College
Washington, D.C.


section

エドモニア・ルイス

Art of the American Negro Exhibition, American Negro Exposition, Chicago, Illinois, 1940. Howard University, Washington, D.C., 1967. “The White, Marmorean Flock”: Nineteenth-Century Women Neoclassical Sculptors," Vassar College, New York, 1972. Michael Rosenfeld Gallery, New York, 2008. Edmonia Lewis and Henry Wadsworth Longfellow: Images and Identities at the Fogg Art Museum, Cambridge, Massachusetts, February 18 –May 3, 1995. Smithsonian American Art Museum, Washington, D.C., June 7, 1996 – April 14, 1997. Wildfire Test Pit, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, August 30, 2016 – June 12, 2017.Hearts of Our People: Native Women Artists, , Minneapolis Institute of Art, Minneapolis, Minnesota, United States. Edmonia Lewis' Bust of Christ, Mount Stuart, UK

Prompt: エドモニア・ルイスはどのように死後展覧会を説明していますか？英語で出力して下さい。

American Negro Exposition
Chicago
Henry Wadsworth Longfellow
Howard University
Minneapolis
Minneapolis Institute of Art
Smithsonian American Art Museum
Oberlin, Ohio
Oberlin College
Oberlin College
Smithsonian American Art Museum
Vassar College
Washington, D.C.


section

エドモニア・ルイス

Art of the American Negro Exhibition, American Negro Exposition, Chicago, Illinois, 1940. Howard University, Washington, D.C., 1967. “The White, Marmorean Flock”: Nineteenth-Century Women Neoclassical Sculptors," Vassar College, New York, 1972. Michael Rosenfeld Gallery, New York, 2008. Edmonia Lewis and Henry Wadsworth Longfellow: Images and Identities at the Fogg Art Museum, Cambridge, Massachusetts, February 18 –May 3, 1995. Smithsonian American Art Museum, Washington, D.C., June 7, 1996 – April 14, 1997. Wildfire Test Pit, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio, August 30, 2016 – June 12, 2017.Hearts of Our People: Native Women Artists, , Minneapolis Institute of Art, Minneapolis, Minnesota, United States. Edmonia Lewis' Bust of Christ, Mount Stuart, UK

Prompt: エドモニア・ルイスに関して、どのように死後展覧会が議論されていますか？英語で出力して下さい。

American Negro Exposition
Chicago
Henry Wadsworth Longfellow
Howard University
Minneapolis
Minneapolis Institute of Art
Smithsonian American Art Museum
Oberlin, Ohio
Oberlin College
Oberlin College
Smithsonian American Art Museum
Vassar College
Washington, D.C.


section

エドモニア・ルイス

List of female sculptors Samuel Lewis House : Brother's house in Montana Moses Jacob Ezekiel, another American sculptor in Rome around the same time period, and also included in 1876 Philadelphia exposition. Women in the art history field

Prompt: エドモニア・ルイスに焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of female sculptors
Montana
Moses Jacob Ezekiel
Women in the art history field


section

エドモニア・ルイス

List of female sculptors Samuel Lewis House : Brother's house in Montana Moses Jacob Ezekiel, another American sculptor in Rome around the same time period, and also included in 1876 Philadelphia exposition. Women in the art history field

Prompt: エドモニア・ルイスの参照を説明してください。英語で出力して下さい。

List of female sculptors
Montana
Moses Jacob Ezekiel
Women in the art history field


section

エドモニア・ルイス

List of female sculptors Samuel Lewis House : Brother's house in Montana Moses Jacob Ezekiel, another American sculptor in Rome around the same time period, and also included in 1876 Philadelphia exposition. Women in the art history field

Prompt: エドモニア・ルイスはどのように参照を説明していますか？英語で出力して下さい。

List of female sculptors
Montana
Moses Jacob Ezekiel
Women in the art history field


section

エドモニア・ルイス

List of female sculptors Samuel Lewis House : Brother's house in Montana Moses Jacob Ezekiel, another American sculptor in Rome around the same time period, and also included in 1876 Philadelphia exposition. Women in the art history field

Prompt: エドモニア・ルイスに関して、どのように参照が議論されていますか？英語で出力して下さい。

List of female sculptors
Montana
Moses Jacob Ezekiel
Women in the art history field


section

エドモニア・ルイス

}}         Richardson, Marilyn . "Edmonia Lewis and Her Italian Circle," in Serpa Salenius, ed., Sculptors, Painters, and Italy: ItalianInfluence on Nineteenth-Century American Art, Padua, Italy: Il Prato Casa Editrice, pp. 99–110. Retrieved February 1, 2019.Richardson, Marilyn . "Sculptor's Death Unearthed: Edmonia Lewis Died in 1907," ARTFIXdaily, January 9, 2011. Retrieved February 1, 2019.Richardson, Marilyn . "Three Indians in Battle by Edmonia Lewis," Maine Antique Digest, Jan. 2011, p. 10-A. Retrieved February 1, 2019.Richardson, Marilyn . "Vita: Edmonia Lewis," Harvard Magazine, March 1986. Retrieved February 1, 2019.  doi=10.1080/08905490008583510 s2cid=192202984 }}Rindfleisch, Jan . Roots and Offshoots: Silicon Valley's Arts Community. pp. 61–62. Santa Clara, CA: Ginger Press.   id = }}

Prompt: エドモニア・ルイスに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

}}         Richardson, Marilyn . "Edmonia Lewis and Her Italian Circle," in Serpa Salenius, ed., Sculptors, Painters, and Italy: ItalianInfluence on Nineteenth-Century American Art, Padua, Italy: Il Prato Casa Editrice, pp. 99–110. Retrieved February 1, 2019.Richardson, Marilyn . "Sculptor's Death Unearthed: Edmonia Lewis Died in 1907," ARTFIXdaily, January 9, 2011. Retrieved February 1, 2019.Richardson, Marilyn . "Three Indians in Battle by Edmonia Lewis," Maine Antique Digest, Jan. 2011, p. 10-A. Retrieved February 1, 2019.Richardson, Marilyn . "Vita: Edmonia Lewis," Harvard Magazine, March 1986. Retrieved February 1, 2019.  doi=10.1080/08905490008583510 s2cid=192202984 }}Rindfleisch, Jan . Roots and Offshoots: Silicon Valley's Arts Community. pp. 61–62. Santa Clara, CA: Ginger Press.   id = }}

Prompt: エドモニア・ルイスの参考文献を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

}}         Richardson, Marilyn . "Edmonia Lewis and Her Italian Circle," in Serpa Salenius, ed., Sculptors, Painters, and Italy: ItalianInfluence on Nineteenth-Century American Art, Padua, Italy: Il Prato Casa Editrice, pp. 99–110. Retrieved February 1, 2019.Richardson, Marilyn . "Sculptor's Death Unearthed: Edmonia Lewis Died in 1907," ARTFIXdaily, January 9, 2011. Retrieved February 1, 2019.Richardson, Marilyn . "Three Indians in Battle by Edmonia Lewis," Maine Antique Digest, Jan. 2011, p. 10-A. Retrieved February 1, 2019.Richardson, Marilyn . "Vita: Edmonia Lewis," Harvard Magazine, March 1986. Retrieved February 1, 2019.  doi=10.1080/08905490008583510 s2cid=192202984 }}Rindfleisch, Jan . Roots and Offshoots: Silicon Valley's Arts Community. pp. 61–62. Santa Clara, CA: Ginger Press.   id = }}

Prompt: エドモニア・ルイスはどのように参考文献を説明していますか？英語で出力して下さい。


section

エドモニア・ルイス

}}         Richardson, Marilyn . "Edmonia Lewis and Her Italian Circle," in Serpa Salenius, ed., Sculptors, Painters, and Italy: ItalianInfluence on Nineteenth-Century American Art, Padua, Italy: Il Prato Casa Editrice, pp. 99–110. Retrieved February 1, 2019.Richardson, Marilyn . "Sculptor's Death Unearthed: Edmonia Lewis Died in 1907," ARTFIXdaily, January 9, 2011. Retrieved February 1, 2019.Richardson, Marilyn . "Three Indians in Battle by Edmonia Lewis," Maine Antique Digest, Jan. 2011, p. 10-A. Retrieved February 1, 2019.Richardson, Marilyn . "Vita: Edmonia Lewis," Harvard Magazine, March 1986. Retrieved February 1, 2019.  doi=10.1080/08905490008583510 s2cid=192202984 }}Rindfleisch, Jan . Roots and Offshoots: Silicon Valley's Arts Community. pp. 61–62. Santa Clara, CA: Ginger Press.   id = }}

Prompt: エドモニア・ルイスに関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

エドモニア・ルイス

}}Rindfleisch, Jan , with articles by Maribel Alvarez and Raj Jayadev, edited by Nancy Hom and Ann Sherman. Roots and Offshoots: Silicon Valley's Arts Community. Santa Clara, CA: Ginger Press.

Prompt: エドモニア・ルイスに焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

}}Rindfleisch, Jan , with articles by Maribel Alvarez and Raj Jayadev, edited by Nancy Hom and Ann Sherman. Roots and Offshoots: Silicon Valley's Arts Community. Santa Clara, CA: Ginger Press.

Prompt: エドモニア・ルイスのさらなる読書を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

}}Rindfleisch, Jan , with articles by Maribel Alvarez and Raj Jayadev, edited by Nancy Hom and Ann Sherman. Roots and Offshoots: Silicon Valley's Arts Community. Santa Clara, CA: Ginger Press.

Prompt: エドモニア・ルイスはどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

エドモニア・ルイス

}}Rindfleisch, Jan , with articles by Maribel Alvarez and Raj Jayadev, edited by Nancy Hom and Ann Sherman. Roots and Offshoots: Silicon Valley's Arts Community. Santa Clara, CA: Ginger Press.

Prompt: エドモニア・ルイスに関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスの文脈で、幼少期とヌルを説明してください。英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスのヌルに関する幼少期を説明してください。英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスでは、どのようにヌルの幼少期が説明されていますか？英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスのヌルにおける幼少期の特徴を説明してください。英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスの文脈で、教育とヌルを説明してください。英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスのヌルに関する教育を説明してください。英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスでは、どのようにヌルの教育が説明されていますか？英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスのヌルにおける教育の特徴を説明してください。英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスの文脈で、ボストンとヌルを説明してください。英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison


subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスのヌルに関するボストンを説明してください。英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison


subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスでは、どのようにヌルのボストンが説明されていますか？英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison


subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスのヌルにおけるボストンの特徴を説明してください。英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスの文脈で、ローマとヌルを説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスのヌルに関するローマを説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスでは、どのようにヌルのローマが説明されていますか？英語で出力して下さい。


subsection

エドモニア・ルイス

left}}}}Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.

Prompt: エドモニア・ルイスのヌルにおけるローマの特徴を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスの文脈で、クレオパトラの死とヌルを説明してください。英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスのヌルに関するクレオパトラの死を説明してください。英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスでは、どのようにヌルのクレオパトラの死が説明されていますか？英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, The Death of Cleopatra, portraying the queen in the throes of death, which was her largest and most significant sculpture. This piece depicts the moment popularized by Shakespeare in Antony and Cleopatra, in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown.  Of the piece, J. S. Ingraham wrote that Cleopatra was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been repeatedly portrayed in art, literature and cinema. In Death of Cleopatra, Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach to representing death. Considering Lewis's interest in emancipation imagery as seen in her work Forever Free, it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work.  Lewis's The Death of Cleopatra may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. To avoid any acknowledgment of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation.}}After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a racehorse named "Cleopatra".  The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, which donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring"

Prompt: エドモニア・ルイスのヌルにおけるクレオパトラの死の特徴を説明してください。英語で出力して下さい。

Antony and Cleopatra
Centennial Exposition
Chicago
Cicero, Illinois
Death of Cleopatra
Forest Park, Illinois
Smithsonian American Art Museum
Smithsonian American Art Museum


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスの文脈で、オールドアローメーカーと彼の娘とヌルを説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスのヌルに関するオールドアローメーカーと彼の娘を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスでは、どのようにヌルのオールドアローメーカーと彼の娘が説明されていますか？英語で出力して下さい。


subsection

エドモニア・ルイス

This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal. This statue later came to be known as The Wooing of Hiawatha, since it appears to depict a scene from Longfellow's epic poem where Minnehaha and her father are approached by Hiawatha. This interesting perspective of the scene  is particularly notable because it seems to come from Lewis's first-person insight into the character of a Native American and thus invites viewers to share this perspective.

Prompt: エドモニア・ルイスのヌルにおけるオールドアローメーカーと彼の娘の特徴を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスの文脈で、フォーエバーフリーとヌルを説明してください。英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスのヌルに関するフォーエバーフリーを説明してください。英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスでは、どのようにヌルのフォーエバーフリーが説明されていますか？英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Forever Free is a sculpture by the American artist Edmonia Lewis. Created in 1867, it commemorates the abolition of slavery in the United States two years earlier and takes its title from President Lincoln's Emancipation Proclamation. The white marble sculpture shows a man standing, staring up, and raising his left arm into the air.Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a position of prayer, the man's right hand gently placed on her right shoulder. The work differs from many other depictions of abolition from the period by showing the Black man standing and unshackled rather than bound or kneeling. Scholars have frequently puzzled over Lewis's decision to Europeanize the features of the female figure. At least one scholar has suggested that the choice may have been an acknowledgment of the varied appearance and heritage of African Americans such as Lewis herself, who was of both African and Native American descent.This piece is held by Howard University Gallery of Art in Washington, D.C.

Prompt: エドモニア・ルイスのヌルにおけるフォーエバーフリーの特徴を説明してください。英語で出力して下さい。

African Americans
Emancipation Proclamation
Howard University
Washington, D.C.


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスの文脈で、ハガーとヌルを説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスのヌルに関するハガーを説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスでは、どのようにヌルのハガーが説明されていますか？英語で出力して下さい。


subsection

エドモニア・ルイス

Lewis had a tendency to sculpt historically strong women, as demonstrated not just in Hagar but also in Lewis's Cleopatra piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. Hagar is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.

Prompt: エドモニア・ルイスのヌルにおけるハガーの特徴を説明してください。英語で出力して下さい。


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスの文脈で、幼少期と私生活を説明してください。英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスの私生活に関する幼少期を説明してください。英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスでは、どのように私生活の幼少期が説明されていますか？英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."</ref>}}However, her academic record at Central College  shows that her grades, "conduct", and attendance were all exemplary. Her classes included tin, French, "grammar", arithmetic, drawing, composition, and declamation .

Prompt: エドモニア・ルイスの私生活における幼少期の特徴を説明してください。英語で出力して下さい。

African Americans
Albany, New York
American National Biography
Montana
Ojibwe
Robert Benjamin Lewis


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスの文脈で、教育と私生活を説明してください。英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスの私生活に関する教育を説明してください。英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスでは、どのように私生活の教育が説明されていますか？英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute , one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The dies' Department was designed "to give Young dies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color.During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.News of the controversial incident spread rapidly throughout Ohio and was universally known in the town of Oberlin, where the general population was not as progressive as that of the college. While Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer ngston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no corpus delicti.Oberlin College awarded her a degree posthumously in 2022.

Prompt: エドモニア・ルイスの私生活における教育の特徴を説明してください。英語で出力して下さい。

John Keep
Oberlin, Ohio
Oberlin Academy
Oberlin College
Oberlin College


subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスの文脈で、ボストンと私生活を説明してください。英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison


subsection

エドモニア・ルイス

After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett , who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason.Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. Lewis then made plaster-cast reproductions of the bust and sold one hundred of these copies at 15 dollars apiece. It was her most famous work to date and the money she earned from the busts allowed her to move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about Lewis and Shaw.From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and ura Curtis Bullard, all important women in Boston and New York abolitionist circles. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down financial assistance, but she could not tolerate false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to demonstrate their support for human rights.Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero",

Prompt: エドモニア・ルイスの私生活に関するボストンを説明してください。英語で出力して下さい。

Anne Whitney
Boston
Charles Sumner
Edward Augustus Brackett
Elizabeth Peabody
Henry Highland Garnet
Henry Wadsworth Longfellow
Lydia Maria Child
Robert Gould Shaw
William Lloyd Garrison
William Lloyd Garrison