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In the novella, the setting is described as, "A colonial mansion, a hereditary estate, I would say a haunted house,--". From looking at this description and other quotes, I think that the best fit for the exhibition would be the Florence Griswold Museum in Connecticut as Gilman is from here and this building is similar to that of the novella and would be interesting to create a similar experience via having a house that looks lived in to capture the normalcy that will provide the mundaneness of the Gilman part of the exhibition in comparison to the eeriness of the Yellow Wallpaper section/ experience in which the turn will captivate the uncanny aspect.

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The Florence Griswold Museum is an art museum at 96 Lyme Street in Old Lyme, Connecticut centered on the home of Florence Griswold (1850-1937), which was the center of the Old Lyme Art Colony, a main nexus of American Impressionism. The museum is noted for its collection of American Impressionist paintings. The house was designated a National Historic Landmark in 1993. The site encompasses 12-acres of historic buildings, grounds, gardens, and walking trails.

The museum's Robert and Nancy Krieble Gallery, featuring 9,500 square feet (880 m ²) of exhibit space and sweeping views of the Lieutenant River, designed by Centerbrook Architects, opened in 2002.

In 2001, the museum acquired the corporate collection of the Hartford Steam Boiler Inspection and Insurance Company, once the world's largest insurer against equipment breakdown. The collection included 157 oil paintings, 31 works on paper and 2 works of sculpture, all Connecticut-related.

Rebekah Beaulieu, Ph.D., became Director of the museum in February 2018, succeeding Jeff Andersen, who led the Museum for 41 years. Beaulieu holds a bachelor's degree in American Studies from George Washington University, a Master's in Art History and Museum Studies from University of Wisconsin-Milwaukee, a Master's in Arts Administration from Columbia University, and a Ph.D. in American and New England Studies from Boston University.

Joshua Campbell Torrance is the Executive Director.[citation needed ]

Collection highlights:

Milton Avery, East Hartford Meadow, 1922

Frederic Church, The Charter Oak at Hartford, 1846

Childe Hassam, Summer Evening (A Woman at the Window), 1886

David Johnson, View of Greenwich, Connecticut, 1878

John F. Kensett, Shore of Darien, Connecticut, 1872

Harlan Page (painter), Portrait of a Man, 1815

Edward Francis Rook, Laurel, c.1905-10

Gurdon Trumbull, Black Bass, 1872

John Ferguson Weir, East Rock, New Haven, 1901

Edwin White, The Fisher Boy, 1840

Bessie Potter Vonnoh, Jessie Wilson, 1912-13

Works by Emil Carlsen, Charles Ebert, Bruce Crane and Willard Metcalf.

The Florence Griswold House in Old Lyme, Connecticut was a boardinghouse run by Florence Griswold, where American Impressionist artists lived and painted-often directly on the walls and doors of the house. The building is now part of the campus of the Florence Griswold Museum.

May Night (1906) by Willard Metcalf, National Gallery of Art, Washington, D.C. This depicts the Florence Griswold House.

Leading artists of the Old Lyme Art Colony who stayed at the boardinghouse were Henry Ward Ranger, Edward Charles Volkert, Childe Hassam, and Willard Metcalf. U.S. President Woodrow Wilson and his family dined with "Miss Florence" and the artists in the house.

I saw a charming house that appeared like a Roman temple among the trees. Admiringly, I beheld the broad steps surmounted by four huge ionic columns that towered to the roof and formed a magnificent adornment to the mansion's front, the handsome old doorway of which stood hospitably open. - Arthur Heming, artist of the Lyme Art Colony

A parlor on the first floor has artists' brushes on the mantel and the extravagant gold harp Robert Griswold brought back for his daughter from England. In that room the artist-boarders would present various types of entertainment for each other. There is a formal dining room on the first floor, and a large covered porch marks the entrance.

The second floor is exhibition space in five galleries with rotating selections from the permanent collection, as well as new acquisitions.

Samuel Belcher, architect of the Old Lyme Congregational Church, designed the late Georgian-style house for William Noyes. It was built in 1817.

The dining room of the Florence Griswold House in Old Lyme, CT showcasing painted wall panels by 19th century American artist-boarders.

The house's dining room, where artists would gather to debate topics of the day, became a showcase for painted wall and door panels created by the artist-boarders. The artists who painted on the house's doors and walls were probably following a tradition imported from hostelries in the French art colonies at Barbizon, Giverny, and Pont-Aven, where many of them had visited and stayed on their own travels abroad. A total of 41 painted panels are in the downstairs rooms.

Artists who contributed painted panels and painted doors on the first floor of the house include Childe Hassam, Willard Metcalf, Henry Rankin Poore, Everett Warner, Allen Butler Talcott, William Chadwick, William Henry Howe, Matilda Browne, Harry Hoffman, Arthur Heming, Chauncey Foster Ryder, Clark Voorhees, Carleton Wiggins, and Bruce Crane, among others. Matilda Browne was the only female artist invited to contribute a panel and was given a place of honor: Miss Florence's own bedroom door.

Miss Florence's bedroom was her only private space in the house and is furnished today with memories of her life: books, art, gifts, and letters from many of the artists who became her lifelong friends. The entire rest of the first floor and the two upstairs floors of the house were taken up by her artist-boarders (and several resident cats.)

Most of the artists traveled by train from New York or Boston along the Connecticut shore to Miss Florence's. During the day, artists would paint en plein air on the grounds by the Lieutenant River, in the apple orchard, or other nearby bucolic landscapes. Often cattle and other wildlife were brought in as subjects from local farms for the artists to paint from life. In the evenings, after boisterous dinners held in the dining room or on the side porch when indoor air became too stuffy, groups retired to the parlor for music, games, and entertainment. In their invented "Wiggle Game," an artist would draw a small number of lines (or "wiggles") on a piece of paper to be completed by a fellow artist into a finished drawing.

Childe Hassam famously called a visit to Old Lyme and Miss Florence's "an excursion to Bohemia," and "just the place for high-thinking and low-living." The artists enjoyed pageants, parades, visits to nearby beaches, canoeing, swimming, and all manner of countryside pursuits on their visits from nearby cities where most resided. Some so enjoyed life in Old Lyme they later relocated permanently or purchased summer residences in the area.

The historic Florence Griswold Museum Gardens in Old Lyme, CT in bloom, June 2020.

The 12-acre site is home to historic gardens tended and maintained by staff and volunteers, populated with historic flowers, herbs, vegetables, and plants. Behind the house there were four distinct gardens: one for herbs and produce such as strawberries, lettuce, peas, corn, and potatoes; one for roses; and two for flowers, which Miss Florence also sold to make ends meet.

Robert F. Schumann Artists' Trail

In July 2019, the Museum opened the Robert F. Schumann Artists' Trail, a series of walking paths, landscaping features, and native plantings around the historic site. The four distinct walks (the river, hedgerow, woodland, and garden) encompass 0.5 miles in length and give modern day visitors an understanding of why artists were drawn to paint en plein air on the landscape. Markers designate sites of historic importance, such as the location of Childe Hassam's studio in the orchard. Funding from the Robert F. Schumann Foundation supported the project. Stephen Stimson Associates Landscape Architects of Cambridge, MA designed and implemented the Artists' Trail and it received an Honor Award from the American Society of Landscape Architects.

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The Florence Griswold Museum is an art museum at 96 Lyme Street in Old Lyme, Connecticut centered on the home of Florence Griswold (1850-1937), which was the center of the Old Lyme Art Colony, a main nexus of American Impressionism. The museum is noted for its collection of American Impressionist paintings.

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Explore a hand-picked collection of Pins about Formative 6 on Pinterest.

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https://www.nlm.nih.gov/exhibition/theliteratureofprescription/exhibitionAssets/digitalDocs/The-Yellow-Wall-Paper.pdf

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Alkan, H. “A Liberal Feminist Approach to Charlotte Perkins Gilman’s The Yellow Wallpaper”. ulakbilge, 65 (2021 Ekim): s. 1229–1236. doi: 10.7816/ulakbilge-09-65-02

https://www.ulakbilge.com/makale/pdf/1635731661.pdf

Gilman, C. P. (1981). The yellow wallpaper. Virago Press.

Gilman, Anna O., and “Hysterical” Writing. NWSA Journal, 1(1), 52–74. http://www.jstor.org/stable/4315866

Herndl, D. P. (1988). The Writing Cure: Charlotte Perkins

Wiley, K. The Yellow Wallpaper. (22 February - 12 July 2020). William Morris Gallery, London, England

https://www.stephenfriedman.com/news/202-kehinde-wiley-the-yellow-wallpaper/

Hill, M. A. (1980). Charlotte Perkins Gilman: A Feminist’s Struggle with Womanhood. The Massachusetts Review, 21(3), 503–526. http://www.jstor.org/stable/25089070

Parry, M. The Literature of Prescription, Charlotte Perkins Gilman and The Yellow Wallpaper. (25 March 2024). NLM Traveling Exhibition

https://www.nlm.nih.gov/exhibition/theliteratureofprescription/index.html#:~:text=The%20Literature%20of%20Prescription:%20Home%20page

Verbrugge, M. H. (1976). Women and Medicine in Nineteenth-Century America. Signs, 1(4), 957–972. http://www.jstor.org/stable/3173245

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Born in Connecticut (1860-1935)

Had a very unstable home as her father left the family home when soon after Charlotte's birth

Had to move around with her mother and brother a lot

Developed a high sense of independence

During her first marriage and after the birth of her daughter, it is stated that Charlotte struggled with depressive episodes and was constricted by the confines of married life and motherhood (which shows heavily in The Yellow Wallpaper)

Her husband insisted on a more traditional marriage

She wrote "To the Young Wife", in which she questioned women's true fulfilment whilst coping to be a dutiful housewife and societal structures

The Gilman part of the exhibition will delve into every aspect of Gilman including her art, writing and struggles with misogyny and how her tenacity and work ethic fought for change for women across America.

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When looking at Gilman's medical history it is evident that due to the time in which Charlotte was seeking medical advice, there was very little knowledge or research done for female mental health or women's health in general. Influences such as misogynistic societal structures, as well as sexist agendas lead to the misdiagnosis' of hysteria in women when they were struggling to be a "dutiful housewife", along with many other outrageous symptoms when we look back today. Charlotte's historical evidence, combined with what we saw from her writings about struggling to be a housewife and mother showed signs suggesting she possibly struggled with post partum depression. However, was diagnosed by Dr. Silas Weir Mitchell (nervous disease specialist) with neurasthenia, or nervous exhaustion, which was another diagnosis male 'medical professionals' (during this time) used to define the weaknesses and strengths between men and women to push their own sexist agendas. Neurasthenia consisted of stress in women that "exceeded their natural limits". Charlotte after this was discouraged from pursuing her career as a writer and artist. This heavily influenced The Yellow Wallpaper. Seeing as Gilman was extremely passionate bout women in the world of employment and economic freedom, this was incredibly frustrating and you can see this reflect in the narrative of Jane in the novella; predominantly when talking about John (her husband) and his refusal to believe her and discouraging her writing.

The work Gilman did for women was heavily influenced by her upbringing as well as her own experience with men in positions of power that abused their professionalism to push their own sexist agendas to enforce the suppression of women.

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The Gilman exhibition:

Her life (where she grew up around Connecticut, her education and family origins)

Her works (To The Young Wife, Women and Economics etc...)

The art she made (The flower girls and trading cards art she sold)

What she did for women (Women and Economics, her works to abolish prostitution and establishing the age of consent)

The Yellow Wallpaper experience:

Eerie

Playing with sound (background speakers whispering sensory based)

Headphones (with the audiobook mention on this Padlet)

Hired actor walking around in the backgrounds around the house or almost see through sheets of the wallpaper

Fake mirrors to emulate someone living in the wallpaper however not making it obvious as to make people question what they have just seen

Sounds of babies crying in the nursery

Dark lighting, sickly yellow

Normalcy of a regular exhibition meets uncanny when experiencing The Yellow Wallpaper experience.

At the end of the Yellow Wallpaper experience there would be a return to the Gilman exhibition that would not be accessible until the whole exhibition was complete. At the end of this section there would be an explanation of the novella and the history behind its creation and why it is a staple in 19th century Gothic literature even being such a small story.

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The audio aspect of the book will provide a more immersive experience for the listener. The torment and struggle Jane experiences in the first narrative being listened to as opposed to just reading the book would get the listener into her headspace on a personal level seeing as this is will be combined with a set, designed to visually represent the room where Jane stays at home isolated and struggling with her emotional turmoil whilst also managing motherhood. The performance by Jamie Loftus in this particular audiobook is unsettlingly eerie and the deliverance of the finale is utterly bone chilling, which is why I think this will have a more uncanny affect after the regularity of the previous exhibition.

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the yellow wallpaper (by charlotte perkins gilman) (read by jamie loftus)

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I intend, with the brochure to to not disclose any specific details towards The Yellow Wallpaper Experience in order to achieve the viewers affected by the uncanny twist.

I have included the date to be the week before Halloween so people will be intrigued as to how the exhibition would be as I have quoted as a "review", "The perfect way to start autumn spookiness".