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Author: Barbara Novak Publisher: Oxford University Press ISBN: 0198042256 Category : Art Languages : en Pages : 337
Book Description
In this distinguished work, which Hilton Kramer in The New York Times Book Review called "surely the best book ever written on the subject," Barbara Novak illuminates what is essentially American about American art. She highlights not only those aspects that appear indigenously in our art works, but also those features that consistently reappear over time. Novak examines the paintings of Washington Allston, Thomas Cole, Asher B. Durand, Fitz H. Lane, William Sidney Mount, Winslow Homer, Thomas Eakins, and Albert Pinkham Ryder. She draws provocative and original conclusions about the role in American art of spiritualism and mathematics, conceptualism and the object, and Transcendentalism and the fact. She analyzes not only the paintings but nineteenth-century aesthetics as well, achieving a unique synthesis of art and literature. Now available with a new preface and an updated bibliography, this lavishly illustrated volume--featuring more than one hundred black-and-white illustrations and sixteen full-color plates--remains one of the seminal works in American art history.
Author: Barbara Novak Publisher: Oxford University Press ISBN: 0198042256 Category : Art Languages : en Pages : 337
Book Description
In this distinguished work, which Hilton Kramer in The New York Times Book Review called "surely the best book ever written on the subject," Barbara Novak illuminates what is essentially American about American art. She highlights not only those aspects that appear indigenously in our art works, but also those features that consistently reappear over time. Novak examines the paintings of Washington Allston, Thomas Cole, Asher B. Durand, Fitz H. Lane, William Sidney Mount, Winslow Homer, Thomas Eakins, and Albert Pinkham Ryder. She draws provocative and original conclusions about the role in American art of spiritualism and mathematics, conceptualism and the object, and Transcendentalism and the fact. She analyzes not only the paintings but nineteenth-century aesthetics as well, achieving a unique synthesis of art and literature. Now available with a new preface and an updated bibliography, this lavishly illustrated volume--featuring more than one hundred black-and-white illustrations and sixteen full-color plates--remains one of the seminal works in American art history.
Author: Österreichische Galerie Belvedere Publisher: Prestel Publishing ISBN: Category : Art Languages : en Pages : 304
Book Description
A specifically American form of art emerged in the nineteenth century that was much more than just a reflection of European developments or stylistic trends. It was a period during which noteworthy local traditions were brought to light, and this is reflected in the selection of landscapes, portraits, and genre paintings contained in this volume, with a plate section including 146 works by 43 artists. The works provide a comprehensive survey of American painting spanning more than one hundred years, from the close of the eighteenth century until World War I. In the context of their genre, these works demonstrate both the continuity and the breaks in the development of nineteenth-century American art and question the established art-historical narrative of American painting.
Author: David C. Miller Publisher: Yale University Press ISBN: 9780300065145 Category : Art Languages : en Pages : 356
Book Description
This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes extended discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities.
Author: Stephen Eisenman Publisher: ISBN: 9780500237939 Category : Art Languages : en Pages : 428
Book Description
"The revised and expanded edition of Nineteenth Century Art: A Critical History embraces many aspects of the so-called 'new' art history - attention to issues of class and gender, reception and spectatorship, racism and Eurocentrism - while at the same time recovering the remarkable vitality, salience and subversiveness of the era's best art. Indeed, the authors insist that there is a profound sympathy between these new perspectives and the art under examination. For it was nineteenth-century artists who first addressed the issues that preoccupy audiences and scholars today: the relation between popular and elite culture, the legacy of the Enlightenment, the question of the canon, and the representation of workers, women and non-whites."--BOOK JACKET.
Author: April F. Masten Publisher: University of Pennsylvania Press ISBN: 0812291743 Category : Art Languages : en Pages : 328
Book Description
"I was in high spirits all through my unwise teens, considerably puffed up, after my drawings began to sell, with that pride of independence which was a new thing to daughters of that period."—The Reminiscences of Mary Hallock Foote Mary Hallock made what seems like an audacious move for a nineteenth-century young woman. She became an artist. She was not alone. Forced to become self-supporting by financial panics and civil war, thousands of young women moved to New York City between 1850 and 1880 to pursue careers as professional artists. Many of them trained with masters at the Cooper Union School of Design for Women, where they were imbued with the Unity of Art ideal, an aesthetic ideology that made no distinction between fine and applied arts or male and female abilities. These women became painters, designers, illustrators, engravers, colorists, and art teachers. They were encouraged by some of the era's best-known figures, among them Tribune editor Horace Greeley and mechanic/philanthropist Peter Cooper, who blamed the poverty and dependence of both women and workers on the separation of mental and manual labor in industrial society. The most acclaimed artists among them owed their success to New York's conspicuously egalitarian art institutions and the rise of the illustrated press. Yet within a generation their names, accomplishments, and the aesthetic ideal that guided them virtually disappeared from the history of American art. Art Work: Women Artists and Democracy in Mid-Nineteenth-Century New York recaptures the unfamiliar cultural landscape in which spirited young women, daring social reformers, and radical artisans succeeded in reuniting art and industry. In this interdisciplinary study, April F. Masten situates the aspirations and experience of these forgotten women artists, and the value of art work itself, at the heart of the capitalist transformation of American society.
Author: Elizabeth Johns Publisher: Yale University Press ISBN: 9780300057546 Category : Art Languages : en Pages : 292
Book Description
American genre painting flourished in the thirty years before the Civil War, a period of rapid social change that followed the election of President Andrew Jackson. It has long been assumed that these paintings--of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk--served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this enlightening book Elizabeth Johns presents a different interpretation--arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time. Analyzing works by William Sidney Mount, George Caleb Bingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humor and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newspapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers. Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices--and not a blissful celebration of American democracy--that informed the look and the richly ambiguous content of genre painting.
Author: Ross Barrett Publisher: Univ of California Press ISBN: 0520282892 Category : Art Languages : en Pages : 228
Book Description
Rendering Violence explores the problems and possibilities that the subject of political violence presented to American painters working between 1830 and 1890, a turbulent period during which common citizens frequently abandoned orderly forms of democratic expression to riot, strike, and protest violently. Examining a range of critical texts, this book shows for the first time that nineteenth-century American aesthetic theory defined painting as a privileged vehicle for the representation of political order and the stabilization of liberal-democratic life. Analyzing seven paintings by Thomas Cole, John Quidor, Nathaniel Jocelyn, George Henry Hall, Thomas Nast, Martin Leisser, and Robert Koehler, Ross Barrett reconstructs the strategies that American artists developed to explore the symbolic power of violence in a medium aligned ideologically with lawful democracy. He argues that American paintings of upheaval ÒrenderÓ their subjects in divergent ways. By exploring the inner conflicts that structure these painterly projects, Barrett sheds new light on the politicized pressures that shaped visual representation in the nineteenth century and on the anxieties and ambivalences that have long defined American responses to political turmoil.
Author: National Gallery of Art (U.S.) Publisher: Princeton University Press ISBN: Category : Art Languages : en Pages : 454
Book Description
The energy and optimism of the new nation are abundantly apparent in this catalogue. It features some of the icons of American art, such as John Singleton Copley's The Copley Family and Gilbert Stuart's portraits of the first five presidents. Numerous paintings, including Benjamin West's Colonel Guy Johnson and Karonghyontye (Captain David Hill), are discussed from a new perspective, the result of information culled from letters, wills, and other previously unpublished documents. The author offers new interpretations of some works, among them Charles Willson Peale's portrait of the Baltimore couple Benjamin and Eleanor Ridgely Laming. The volume is richly illustrated, with carefully selected comparative illustrations.
Author: Barbara Novak
Author: Barbara Novak
Author: Österreichische Galerie Belvedere
Author: David C. Miller
Author: Stephen Eisenman
Author: April F. Masten
Author: Elizabeth Johns
Author: Sarah Burns
Author: Ross Barrett
Author: National Gallery of Art (U.S.)
Author: John Wilmerding