Reprint of the original, first published in 1881.

Reparation and Reconciliation is the first book to reveal the nineteenth-century struggle for racial integration on U.S. college campuses. As the Civil War ended, the need to heal the scars of slavery, expand the middle class, and reunite the nation engendered a dramatic interest in higher education by policy makers, voluntary associations, and African Americans more broadly. Formed in 1846 by Protestant abolitionists, the American Missionary Association united a network of colleges open to all, designed especially to educate African American and white students together, both male and female. The AMA and its affiliates envisioned integrated campuses as a training ground to produce a new leadership class for a racially integrated democracy. Case studies at three colleges--Berea College, Oberlin College, and Howard University--reveal the strategies administrators used and the challenges they faced as higher education quickly developed as a competitive social field. Through a detailed analysis of archival and press data, Christi M. Smith demonstrates that pressures between organizations--including charities and foundations--and the emergent field of competitive higher education led to the differentiation and exclusion of African Americans, Appalachian whites, and white women from coeducational higher education and illuminates the actors and the strategies that led to the persistent salience of race over other social boundaries.

The fascinating story of the transformation of American watercolor practice between 1866 and 1925 The formation of the American Watercolor Society in 1866 by a small, dedicated group of painters transformed the perception of what had long been considered a marginal medium. Artists of all ages, styles, and backgrounds took up watercolor in the 1870s, inspiring younger generations of impressionists and modernists. By the 1920s many would claim it as "the American medium." This engaging and comprehensive book tells the definitive story of the metamorphosis of American watercolor practice between 1866 and 1925, identifying the artist constituencies and social forces that drove the new popularity of the medium. The major artists of the movement - Winslow Homer, John Singer Sargent, William Trost Richards, Thomas Moran, Thomas Eakins, Charles Prendergast, Childe Hassam, Edward Hopper, Charles Demuth, and many others - are represented with lavish color illustrations. The result is a fresh and beautiful look at watercolor's central place in American art and culture.