Texarkana College is a public community college in Texarkana, Texas.
This chapter examines the attitude of the artist May Alcott Nieriker and her sister, Louisa, toward the concepts of “talent” and “genius.” Nieriker believed genius was the proper term for artists Rosa Bonheur and Mary Cassatt, and Nieriker’s own experiences, both personal and artistic, gave her the confidence to believe she might be one too. Over time, Nieriker’s strong defense of the “genius” possibilities for women had an impact on her sister’s work and ideas about women’s genius. Nieriker’s portrait, Négresse, combines genres and concerns about abolition and emancipation. It is evidence of May’s belief in the possibility of genius for herself.
Nieriker was among those American women painters who traveled to Paris for Academic training. She took with her a patriotic pride, artistic ambition, and progressive ideas. In Paris, she worked to achieve professionalism through study, choice of medium and subject, and membership in a feminine art community. She believed female artists would eventually be able to seize the recognition they deserved. Unfortunately, the last decades of the nineteenth century tell a story of limited victory for these pioneers. Women gained admittance to the Ecole des Beaux Arts just as the art world moved from academic style to Impressionism.
The resolution of Mansuripur's paradox appears in numerous papers in the physics literature, preserves the Lorentz force but depends on the concept of hidden momentum. Here I propose a different resolution based on the overlooked fact that the charge-magnetic dipole system contains linear and angular electromagnetic field momentum. The time rate of change of the field angular momentum in the frame through which the system is moving cancels that due to the charge-electric dipole interaction. From this point of view hidden momentum is not needed in the resolution of the paradox.
