A member of the Third Order of Saint Dominic, Saint Rose of Lima lived a life of penance and devotion to the poor at home under the disapproving eyes of her parents.
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Surrounding the statue, the sky is an anarchy of color, splattered with erratic brushstrokes and collaged fragments of newsprint and text in various languages, symbolizing the global dialogue on freedom. Random objects—clocks, eyes, and mechanical gears—float in this surreal ether, embodying the Dadaist rejection of logic and embracing the absurd. The juxtaposition of these elements creates a visual dissonance, a reminder that liberty is not a static symbol but a dynamic, ever-evolving concept. This polychromatic portrayal captures the Statue of Liberty not just as a beacon of freedom, but as an icon within the unpredictable and vibrant theater of human experience.
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This post features selected maps that were created under the auspices of the Federal Writers’ Project.
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The killing of Christians because of their refusal to deny Christ has been recorded countless times since the martyrdom of Stephen in Acts 7.
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Anglo-American writer Christopher Isherwood lived in Berlin from 1929 to 1932 and observed first-hand the rise of the Nazis and the damage and terror inflicted on the famously tolerant city and its inhabitants. He drew from his journals that he kept from those years to write “Mr. Norris Changes Trains” (1935) and “Goodbye to Berlin” (1939), which would later be combined into an omnibus volume entitled “The Berlin Stories” (1945). Playful and powerful, Isherwood’s depiction of Berlin captured the imagination of later artists, whose work is also represented in the Rare Book and Special Collections Division.
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