There was once a time when these zones, these
interdependencies, defined people's lives. There were always distinctions
between the field and the house, of course. But these new fences, these mute
zones centered on the smokehouse and the other backyard outbuildings, they were
there too, a real part of the circle of common knowledge we are only now
uncovering. It was a world built on boundaries.
Michael Olmert teaches English at the University of Maryland. He is compiling his earlier stories that appeared in the journal—on ice houses, dovecotes, privies—into a book.
Due to the reasons outlined in the Introduction, summary overviews of 18th-century art are uncommon. The diversity of the century’s artistic achievements make a linear narrative challenging to write. The following texts take up that challenge in diverse ways. Levey 1966 is an easily available, but now a rather dated attempt. Boime 1987 is a more detailed historical survey, while Craske 1997 and Barker 2012 provide sociohistorical and case-study approaches. Rosenblum 1967 , although not a true survey, offers a panoramic reading of late 18th-century art that unpacks much of its substance and significance. Art History Resources culls an enormous number of online resources and serves as a de facto pictorial survey for the century.