Martha Ward

An evocative dual portrait explores the lives of the Marie Laveaus, mother and daughter of the same name who became leaders of indigenous American religious and spiritual traditions in nineteenth-century Creole New Orleans.

The Spirited Lives of Marie Laveau

Voodoo Queen

Calling all pet lovers! Now you can prepare the recipes in Doggie Delights and Kitty Cuisine as another way to show your best friends you love them. Home baked, using all natural ingredients such as rye and wheat flours, rolled oat, molasses, honey and nuts make it easy to mix up recipes that your cats and dogs are sure to enjoy. All recipes have been taste tested by Cinnamon, the author's golden retriever, and her cat and dog relatives and friends.

Doggie Delights and Kitty Cuisine

Martha Ward tracks the development and reception of neo-impressionism, revealing how the artists and critics of the French art world of the 1880s and 1890s created painting's first modern vanguard movement. Paying particular attention to the participation of Camille Pissarro, the only older artist to join the otherwise youthful movement, Ward sets the neo-impressionists' individual achievements in the context of a generational struggle to redefine the purposes of painting. She describes the conditions of display, distribution, and interpretation that the neo-impressionists challenged, and explains how these artists sought to circulate their own work outside of the prevailing system. Paintings, Ward argues, often anticipate and respond to their own conditions of display and use, and in the case of the neo-impressionists, the artists' relations to market forces and exhibition spaces had a decisive impact on their art. Ward details the changes in art dealing, and chronicles how these and new freedoms for the press made artistic vanguardism possible while at the same time affecting the content of painting. She also provides a nuanced account of the neo-impressionists' engagements with anarchism, and traces the gradual undermining of any strong correlation between artistic allegiance and political direction in the art world of the 1890s. Throughout, there are sensitive discussions of such artists as Georges Seurat and Paul Signac, as well as Pissarro. Yet the touchstone of the book is Pissarro's intricate relationship to the various factions of the Paris art world.

Martha Ward

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