In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.

In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.

This collection is the first academic study of the captivating life and career of expatriate artist, writer, and activist, May Alcott Nieriker. Nieriker is known as the sister of Louisa May Alcott and model for "Amy March" in Alcott’s Little Women. As this book reveals, she was much more than "Amy"—she had a more significant impact on the Concord community than her sister and later became part of the creative expat community in Europe. There, she imbued her painting with the abolitionist activism she was exposed to in childhood and pursued an ideal of artistic genius that opposed her sister’s vision of self-sacrifice. Embarking on a career that took her across London, Paris, and Rome, Nieriker won the acclaim of John Ruskin and forged a network of expatriate female painters who changed the face of nineteenth-century art, creating opportunities for women that lasted well into the twentieth century. A "Renaissance woman," Nieriker was a travel writer, teacher, and curator. She is recovered here as a transdisciplinary subject who stands between disciplines, networks, and ideologies—stiving to recognize the dignity of others. Contributors include foundational Alcott scholar Daniel Shealy and Pulitzer Prize winner John Matteson, as well as Curators, Jan Turnquist (Orchard House) and Amanda Burdan (Brandywine River Museum of Art). In this book, readers will become acquainted with a dynamic feminist thinker who transforms our understanding of the place of women artists in the wider cultural and intellectual life of nineteenth-century Britain, France, and the United States.

In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.

In an unprecedented comparison of two of the most important female authors of the nineteenth century, Azelina Flint foregrounds the influence of the religious communities that shaped Louisa May Alcott’s and Christina Rossetti’s visions of female creativity. In the early stages of the authors’ careers, their artistic developments were associated with their patrilineal connections to two artistic movements that shaped the course of American and British history: the Transcendentalists and Pre-Raphaelites. Flint uncovers the authors’ rejections of the individualistic outlooks of these movements, demonstrating that Alcott and Rossetti affiliated themselves with their mothers and sisters’ religious faith. Applying the methodological framework of women’s mysticism, Flint reveals that Alcott’s and Rossetti’s religious beliefs were shaped by the devotional practices and life-writing texts of their matrilineal communities. Here, the authors’ iconic portrayals of female artists are examined in light of the examples of their mothers and sisters for the first time. Flint recovers a number of unpublished life-writings, including commonplace albums and juvenile newspapers, introducing readers to early versions of the authors’ iconic works. These recovered texts indicate that Alcott and Rossetti portrayed the female artist as a mouthpiece for a wider community of women committed to social justice and divine communion. By drawing attention to the parallels in the authors’ familial affiliations and religious beliefs, Flint recuperates a tradition of nineteenth-century women’s mysticism that departs from the individualistic models of male literary traditions to locate female empowerment in gynocentric relationships dedicated to achieving a shared revelation of God.

This collection is the first academic study of the captivating life and career of expatriate artist, writer, and activist, May Alcott Nieriker. Nieriker is known as the sister of Louisa May Alcott and model for "Amy March" in Alcott’s Little Women. As this book reveals, she was much more than "Amy"—she had a more significant impact on the Concord community than her sister and later became part of the creative expat community in Europe. There, she imbued her painting with the abolitionist activism she was exposed to in childhood and pursued an ideal of artistic genius that opposed her sister’s vision of self-sacrifice. Embarking on a career that took her across London, Paris, and Rome, Nieriker won the acclaim of John Ruskin and forged a network of expatriate female painters who changed the face of nineteenth-century art, creating opportunities for women that lasted well into the twentieth century. A "Renaissance woman," Nieriker was a travel writer, teacher, and curator. She is recovered here as a transdisciplinary subject who stands between disciplines, networks, and ideologies—stiving to recognize the dignity of others. Contributors include foundational Alcott scholar Daniel Shealy and Pulitzer Prize winner John Matteson, as well as Curators, Jan Turnquist (Orchard House) and Amanda Burdan (Brandywine River Museum of Art). In this book, readers will become acquainted with a dynamic feminist thinker who transforms our understanding of the place of women artists in the wider cultural and intellectual life of nineteenth-century Britain, France, and the United States.