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Author: Janis P. Stout Publisher: Texas Tech University Press ISBN: 9780896726109 Category : Art Languages : en Pages : 336
Book Description
Picturing a Different West addresses Willa Cather and Mary Austin as central figures in a women's tradition of the pictured West. Both Cather and Austin moved west in their youth and spent much of their lives there. Cather lived on the Great Plains, while Austin resided in California and the Southwest. Cather's travels repeatedly took her to the Southwest, and she wrote three novels with Southwestern settings. Starting with the masculine tradition of Western art that was prevalent when Austin and Cather launched their careers, Janis P. Stout shows how the authors challenged and revised that tradition. Rather than a West of adventure, violence, and conquest, open only to rugged and daring men, the authors envisioned a new West--not conventionally feminine so much as an androgynous space of freedom for women and men alike. Their vision of an alternative West and their alternative ways of thinking about and portraying gender are inseparable. Placing Cather and Austin alongside contemporaries Elsie Clews Parsons, Mabel Dodge Luhan, Georgia O'Keeffe, and Laura Gilpin, Stout emphasizes the visual nature of Austin's and Cather's personal experiences of the West and Southwest, their awareness of the prevailing visual representations of the West, and the visual nature of their books about the West, with respect to both prose style and illustrations. In closing, Stout demonstrates the continuance of their tradition in illustrated western books by Leslie Marmon Silko and by Margaret Randall and Barbara Byers.
Author: Janis P. Stout Publisher: Texas Tech University Press ISBN: 9780896726109 Category : Art Languages : en Pages : 336
Book Description
Picturing a Different West addresses Willa Cather and Mary Austin as central figures in a women's tradition of the pictured West. Both Cather and Austin moved west in their youth and spent much of their lives there. Cather lived on the Great Plains, while Austin resided in California and the Southwest. Cather's travels repeatedly took her to the Southwest, and she wrote three novels with Southwestern settings. Starting with the masculine tradition of Western art that was prevalent when Austin and Cather launched their careers, Janis P. Stout shows how the authors challenged and revised that tradition. Rather than a West of adventure, violence, and conquest, open only to rugged and daring men, the authors envisioned a new West--not conventionally feminine so much as an androgynous space of freedom for women and men alike. Their vision of an alternative West and their alternative ways of thinking about and portraying gender are inseparable. Placing Cather and Austin alongside contemporaries Elsie Clews Parsons, Mabel Dodge Luhan, Georgia O'Keeffe, and Laura Gilpin, Stout emphasizes the visual nature of Austin's and Cather's personal experiences of the West and Southwest, their awareness of the prevailing visual representations of the West, and the visual nature of their books about the West, with respect to both prose style and illustrations. In closing, Stout demonstrates the continuance of their tradition in illustrated western books by Leslie Marmon Silko and by Margaret Randall and Barbara Byers.
Author: Tyler Green Publisher: University of California Press ISBN: 0520377532 Category : History Languages : en Pages : 594
Book Description
"[A] fascinating and indispensable book."—Christopher Knight, Los Angeles Times Best Books of 2018—The Guardian Gold Medal for Contribution to Publishing, 2018 California Book Awards Carleton Watkins (1829–1916) is widely considered the greatest American photographer of the nineteenth century and arguably the most influential artist of his era. He is best known for his pictures of Yosemite Valley and the nearby Mariposa Grove of giant sequoias. Watkins made his first trip to Yosemite Valley and Mariposa Grove in 1861 just as the Civil War was beginning. His photographs of Yosemite were exhibited in New York for the first time in 1862, as news of the Union’s disastrous defeat at Fredericksburg was landing in newspapers and while the Matthew Brady Studio’s horrific photographs of Antietam were on view. Watkins’s work tied the West to Northern cultural traditions and played a key role in pledging the once-wavering West to Union. Motivated by Watkins’s pictures, Congress would pass legislation, signed by Abraham Lincoln, that preserved Yosemite as the prototypical “national park,” the first such act of landscape preservation in the world. Carleton Watkins: Making the West American includes the first history of the birth of the national park concept since pioneering environmental historian Hans Huth’s landmark 1948 “Yosemite: The Story of an Idea.” Watkins’s photographs helped shape America’s idea of the West, and helped make the West a full participant in the nation. His pictures of California, Oregon, and Nevada, as well as modern-day Washington, Utah, and Arizona, not only introduced entire landscapes to America but were important to the development of American business, finance, agriculture, government policy, and science. Watkins’s clients, customers, and friends were a veritable “who’s who” of America’s Gilded Age, and his connections with notable figures such as Collis P. Huntington, John and Jessie Benton Frémont, Eadweard Muybridge, Frederick Billings, John Muir, Albert Bierstadt, and Asa Gray reveal how the Gilded Age helped make today’s America. Drawing on recent scholarship and fresh archival discoveries, Tyler Green reveals how an artist didn’t just reflect his time, but acted as an agent of influence. This telling of Watkins’s story will fascinate anyone interested in American history; the West; and how art and artists impacted the development of American ideas, industry, landscape, conservation, and politics.
Author: B. Byron Price Publisher: University of Oklahoma Press ISBN: 0806156937 Category : Art Languages : en Pages : 161
Book Description
Throughout the nineteenth century, the land known as “Indian Territory” was populated by diverse cultures, troubled by shifting political boundaries, and transformed by historical events that were colorful, dramatic, and often tragic. Beyond its borders, most Americans visualized the area through the pictures produced by non-Native travelers, artists, and reporters—all with differing degrees of accuracy, vision, and skill. The images in Picturing Indian Territory, and the eponymous exhibit it accompanies, conjure a wildly varied vision of Indian Territory’s past. Spanning nearly nine decades, these artworks range from the scientific illustrations found in English naturalist Thomas Nuttall’s journal to the paintings of Frederic Remington, Henry Farny, and Charles Schreyvogel. The volume’s three essays situate these works within the historical narratives of westward expansion, the creation of an “Indian Territory” separate from the rest of the United States, and Oklahoma’s eventual statehood in 1907. James Peck focuses on artists who produced images of Native Americans living in this vast region during the pre–Civil War era. In his essay, B. Byron Price picks up the story at the advent of the Civil War and examines newspaper and magazine reports as well as the accounts of government functionaries and artist-travelers drawn to the region by the rapidly changing fortunes of the area’s traditional Indian cultures in the wake of non-Indian settlement. Mark Andrew White then looks at the art and illustration resulting from the unrelenting efforts of outsiders who settled Indian and Oklahoma Territories in the decades before statehood. Some of the artworks featured in this volume have never before been displayed; some were produced by more than one artist; others are anonymous. Many were completed by illustrators on-site, as the events they depicted unfolded, while other artists relied on written accounts and vivid imaginations. Whatever their origin, these depictions of the people, places, and events of “Indian Country” defined the region for contemporary American and European audiences. Today they provide a rich visual record of a key era of western and Oklahoma history—and of the ways that art has defined this important cultural crossroads.
Author: Ann Beattie Publisher: Vintage ISBN: 0307765709 Category : Fiction Languages : en Pages : 241
Book Description
Picturing Will, the widely acclaimed new novel by Ann Beattie, unravels the complexities of a postmodern family. There's Will, a curious five-year-old who listens to the heartbeat of a plant through his toy stethoscope; Jody, his mother, a photographer poised on the threshold of celebrity; Mel, Jody's perfect -- perhaps too perfect -- lover; and Wayne, the father who left Will without warning and now sees his infrequent visits as a crimp in his bedhopping. Beattie shows us how these lives intersect, attract, and repel one another with dazzling shifts and moments of heartbreaking directness.
Author: Natasha O'Hear Publisher: Oxford University Press, USA ISBN: 0199689016 Category : Art Languages : en Pages : 388
Book Description
This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach's sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J.M.W. Turner, Max Beckmann, as well as film posters and film stills, cartoons, and children's book illustrations.
Author: David M. Lubin Publisher: Yale University Press ISBN: 9780300057324 Category : Art Languages : en Pages : 400
Book Description
Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.
Author: Kristen Whissel Publisher: Duke University Press ISBN: 0822391457 Category : Performing Arts Languages : en Pages : 288
Book Description
In Picturing American Modernity, Kristen Whissel investigates the relationship between early American cinema and the experience of technological modernity. She demonstrates how between the late 1890s and the eve of the First World War moving pictures helped the U.S. public understand the possibilities and perils of new forms of “traffic” produced by industrialization and urbanization. As more efficient ways to move people, goods, and information transformed work and leisure at home and contributed to the expansion of the U.S. empire abroad, silent films presented compelling visual representations of the spaces, bodies, machines, and forms of mobility that increasingly defined modern life in the United States and its new territories. Whissel shows that by portraying key events, achievements, and anxieties, the cinema invited American audiences to participate in the rapidly changing world around them. Moving pictures provided astonishing visual dispatches from military camps prior to the outbreak of fighting in the Spanish-American War. They allowed audiences to delight in images of the Pan-American Exposition, and also to mourn the assassination of President McKinley there. One early film genre, the reenactment, presented spectators with renditions of bloody battles fought overseas during the Philippine-American War. Early features offered sensational dramatizations of the scandalous “white slave trade,” which was often linked to immigration and new forms of urban work and leisure. By bringing these frequently distant events and anxieties “near” to audiences in cities and towns across the country, the cinema helped construct an American national identity for the machine age.
Author: Julie Nelson Davis Publisher: University of Hawaii Press ISBN: 0824889339 Category : Art Languages : en Pages : 225
Book Description
Today we think of ukiyo-e—“the pictures of the floating world”—as masterpieces of Japanese art, highly prized throughout the world. Yet it is often said that ukiyo-e were little appreciated in their own time and were even used as packing material for ceramics. In Picturing the Floating World, Julie Nelson Davis debunks this myth and demonstrates that ukiyo-e was thoroughly appreciated as a field of artistic production, worthy of connoisseurship and canonization by its contemporaries. Putting these images back into their dynamic context, she shows how consumers, critics, and makers produced and sold, appraised and collected, and described and recorded ukiyo-e. She recovers this multilayered world of pictures in which some were made for a commercial market, backed by savvy entrepreneurs looking for new ways to make a profit, while others were produced for private coteries and high-ranking connoisseurs seeking to enrich their cultural capital. The book opens with an analysis of period documents to establish the terms of appraisal brought to ukiyo-e in late eighteenth-century Japan, mapping the evolution of the genre from a century earlier and the development of its typologies and the creation of a canon of makers—both of which have defined the field ever since. Organized around divisions of major technological and aesthetic developments, the book reveals how artistic practice and commercial enterprise were intertwined throughout ukiyo-e’s history, from its earliest imagery through the twentieth century. The depiction of particular subjects in and for the floating world of urban Edo and the process of negotiating this within the larger field of publishing are examined to further ground ukiyo-e as material culture, as commodities in a mercantile economy. Picturing the Floating World offers a new approach: a critical yet accessible analysis of the genre as it was developed in its social, cultural, and political milieu. The book introduces students, collectors, and enthusiasts to ukiyo-e as a genre under construction in its own time while contributing to our understanding of early modern visual production.
Author: A. Oksiloff Publisher: Springer ISBN: 1137056878 Category : Art Languages : en Pages : 225
Book Description
Primitive Pictures explores the relationship between early German cinema and anthropology's fascination with 'primitive' cultures. At the core of this study is a mythic first contact between the camera and the non-Western body. The term that binds the two is the 'Primitive', referring both to cultures ostensibly existing outside of modern Time and also to a way of seeing the world via the lens. Asseka Oksiloff examines how the movie camera, with its capacity to record reality in a supposedly direct fashion, is legitimated by the primitive body in the first decades of the twentieth century. From the earliest research footage to popularized adventure footage, the film theory, the 'primitive' holds out the promise of a critical space that affirms modern, technological vision.
Author: Janis P. Stout
Author: Janis P. Stout
Author: Tyler Green
Author: Jay A. Mitchell
Author: B. Byron Price
Author: Ann Beattie
Author: Natasha O'Hear
Author: David M. Lubin
Author: Kristen Whissel
Author: Julie Nelson Davis
Author: A. Oksiloff