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Author: Taylor Littleton Publisher: Fire Ant Books ISBN: Category : Art Languages : en Pages : 180
Book Description
A representative collection of avant-garde American painting from the 1930s and '40s Conceived and funded by the State Department in 1946 as part of a new emphasis in international diplomacy, the exhibit of paintings called Advancing American Art was launched on what was enthusiastically projected as an extended goodwill tour of Europe and Latin America. But almost immediately the exhibit was attacked by conservative groups as "un-American" and "subversive" and its abstract paintings ridiculed in the national media, in Congress, and by no less a critic than President Truman. Following their recall by Secretary Marshall in 1947, the exhibit's paintings were quietly declared surplus property and sold under rather curious circumstances by the War Assets Administration. Most of the collection was acquired by a small number of public universities in what could be called the art bargain of the century, since works by such figures as Marin, O'Keefe, Shahn, Dove, Kuniyoshi, and Hartley were sold for $100 or less. The chronicle of this exhibit tells us something about America after the war, when the nation sought to reconcile its sacrificial experiences from the Depression and in World War II with its new role on the international scene. Defining the figures of confrontation that challenged America's tenuous self-conceptions at the time, this book captures a significant transitional moment in U.S. history while also serving as a catalog of the 38 masterpieces purchased by Auburn University.
Author: Taylor Littleton Publisher: Fire Ant Books ISBN: Category : Art Languages : en Pages : 180
Book Description
A representative collection of avant-garde American painting from the 1930s and '40s Conceived and funded by the State Department in 1946 as part of a new emphasis in international diplomacy, the exhibit of paintings called Advancing American Art was launched on what was enthusiastically projected as an extended goodwill tour of Europe and Latin America. But almost immediately the exhibit was attacked by conservative groups as "un-American" and "subversive" and its abstract paintings ridiculed in the national media, in Congress, and by no less a critic than President Truman. Following their recall by Secretary Marshall in 1947, the exhibit's paintings were quietly declared surplus property and sold under rather curious circumstances by the War Assets Administration. Most of the collection was acquired by a small number of public universities in what could be called the art bargain of the century, since works by such figures as Marin, O'Keefe, Shahn, Dove, Kuniyoshi, and Hartley were sold for $100 or less. The chronicle of this exhibit tells us something about America after the war, when the nation sought to reconcile its sacrificial experiences from the Depression and in World War II with its new role on the international scene. Defining the figures of confrontation that challenged America's tenuous self-conceptions at the time, this book captures a significant transitional moment in U.S. history while also serving as a catalog of the 38 masterpieces purchased by Auburn University.
Author: Michael L. Krenn Publisher: Univ of North Carolina Press ISBN: 0807876410 Category : Political Science Languages : en Pages : 313
Book Description
During the Cold War, culture became another weapon in America's battle against communism. Part of that effort in cultural diplomacy included a program to arrange the exhibition of hundreds of American paintings overseas. Michael L. Krenn studies the successes, failures, contradictions, and controversies that arose when the U.S. government and the American art world sought to work together to make an international art program a reality between the 1940s and the 1970s. The Department of State, then the United States Information Agency, and eventually the Smithsonian Institution directed this effort, relying heavily on the assistance of major American art organizations, museums, curators, and artists. What the government hoped to accomplish and what the art community had in mind, however, were often at odds. Intense domestic controversies resulted, particularly when the effort involved modern or abstract expressionist art. Ultimately, the exhibition of American art overseas was one of the most controversial Cold War initiatives undertaken by the United States. Krenn's investigation deepens our understanding of the cultural dimensions of America's postwar diplomacy and explores how unexpected elements of the Cold War led to a redefinition of what is, and is not, "American."
Author: Taylor Littleton
Author: Taylor Littleton
Author: Virginia M. Mecklenburg
Author: Margaret Lynne Ausfeld
Author: Maureen A. Baker
Author: United States Information Service (Prague, Czech Republic)
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Author: Hugo Weisgall
Author: Michael L. Krenn