By Douglass Shand-Tucci
The 1st significant biography of Ralph Adams Cram (1863-1942), America's maximum church architect, this publication bargains a portrait of America's earliest avant garde, Boston's little recognized fin-de-siecle bohemia, within which Cram figured as chief, editor, artwork critic, poet, and fashion designer. Disclosing for the 1st time the pivotal contribution of Boston's rising homosexual tradition to New England's highbrow and cultural heritage, Douglass Shand-Tucci explores the connection among inventive creativity and sexual orientation and among homosexuality and excessive Church Anglicanism. the 1st of 2 volumes, this examine specializes in Cram's early architectural and literary paintings.
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Additional resources for Boston Bohemia, 1881-1900: Ralph Adams Cram--Life and Architecture
Conant got me much closer to Cram, and he was a great help in my efforts to detail Cram's aesthetic, for Conant was an unusual combination of scholar and architect, rather like my old friend, the architect (and, in fact, graduate of Lowell House), William Buckingham, whose scholarly neo-Georgian buildings of recent years at Roxbury Latin School in Boston may yet again breathe new life into that much-abused mode. The architect, as distinct from the architectural historian (the gullible public Page xiii notwithstanding, they are not the same thing), does have a role to play in training the scholar of art and architecture and culture generally.
Printed and bound by Thomson-Shore, Inc. Library of Congress Cataloging-in-Publication Data Shand-Tucci, Douglass, date. Ralph Adams Cram: life and architecture / Douglass Shand-Tucci. cm. Includes bibliographical references and index. ArchitectsUnited StatesBiography. Title. 92dc20 [B] 94-11328 CIP Frontispiece: Portrait of Ralph Adams Cram by Fred Holland Day, ca. 1895 This book is published with the support and cooperation of the University of Massachusetts Boston and is also supported by a grant from the National Endowment for the Humanities, an independent federal agency.
As for Cram, it was not until Coolidge saw the nave of St. John the Divine in New York that he granted I might be on to something. Daniel also disapproved of my older priest friends and was dismayed by my determination not only to write a study of Cram's design but to do so within the context of a very open biography. At our weekly lunches Daniel often played Emerson to my Whitman (and often enough actually in sight of the locale of that famous dialogue on Boston Common), Dan always arguing forcefully for discretion, I stubbornly determined the truth would set us free.
Boston Bohemia, 1881-1900: Ralph Adams Cram--Life and Architecture by Douglass Shand-Tucci