Author: Barbara Novak
Publisher: Oxford University Press
ISBN: 9780198042259
Category : History
Languages : en
Pages : 352
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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: John Ireland Howe Baur
Publisher:
ISBN:
Category : Painting
Languages : en
Pages : 76
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Book Description
Author: Sarah Burns
Publisher:
ISBN: 9780520249875
Category : Art and mythology
Languages : en
Pages : 0
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Book Description
Sarah Burns examines the presentation of the gothic in 19th century American painting. Dismissing notions that gothic was the work only of misfits, she shows how it influenced romantic and realist painters, and at how gothic painters such as Quidor, Blythe and Rimmer participated in the development of American art.
Author: Barbara S. Groseclose
Publisher: Oxford University Press, USA
ISBN: 9780192842251
Category : Art
Languages : en
Pages : 256
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Book Description
"Many well-known artists, including Thomas Eakins and Winslow Homer, and lesser-known artists like Harriet Hosmer are closely examined, as is the art world of the time. In addition to discussing the free movement of American visual culture between 'high' and 'low', Barbara Groseclose interweaves nineteenth-century art criticism with current art history, to create a fascinating insight into the changing interpretations of American art of this period."--BOOK JACKET.
Author: Torsten Gunnarsson
Publisher: Yale University Press
ISBN: 0300070411
Category : Art
Languages : en
Pages : 318
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Book Description
This study identifies and analyzes the different types of landscape painting that dominated the Scandinavian countries in the 19th century. The author shows how the wilderness became a symbol of Nordic strength, as well as a counter-image to industrialization and European urban culture.
Author: Barbara Novak
Publisher: Artabras Publishers
ISBN:
Category : Art
Languages : en
Pages : 342
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Book Description
A stunning view of one of the most important collections in the world. The Thyssen-Bornemisza is perhaps the definitive collection of 19th century American painting. In this fascinating catalog, Barbara Novak presents the works in the context of the culture in which they were created--with all the great artists represented: Bierstadt, Catlin, Cole, Copley, Homer, Inness, Sargent, and Whistler. 160 illustrations, 109 in full-color.
Author: Ross Barrett
Publisher: Univ of California Press
ISBN: 0520282892
Category : Art
Languages : en
Pages : 228
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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: Elizabeth Johns
Publisher: Yale University Press
ISBN: 9780300057546
Category : Art
Languages : en
Pages : 292
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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: National Gallery of Art (U.S.)
Publisher: Princeton University Press
ISBN:
Category : Art
Languages : en
Pages : 454
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Book Description
The energy and optimism of the new nation are apparent in this catalogue, which features John Singleton Copley's The Copley Family and Gilbert Stuart's portraits of the first five presidents. Previously unpublished documents and infrared reflectograms shed new light on Benjamin West's Colonel Guy Johnson and Karonghyontye (Captain David Hill), Copley's Watson and the Shark, and Edward Savage's Washington Family.
Author: Karen L. Georgi
Publisher: Penn State Press
ISBN: 0271062479
Category : Art
Languages : en
Pages : 150
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Book Description
American Civil War–era art critics James Jackson Jarves, Clarence Cook, and William J. Stillman classified styles and defined art in terms that have become fundamental to our modern periodization of the art of the nineteenth century. In Critical Shift, Karen Georgi rereads many of their well-known texts, finding certain key discrepancies between their words and our historiography that point to unrecognized narrative desires. The book also studies ruptures and revolutionary breaks between “old” and “new” art, as well as the issue of the morality of “true” art. Georgi asserts that these concepts and their sometimes loaded expression were part of larger rhetorical structures that gainsay the uses to which the key terms have been put in modern historiography. It has been more than fifty years since a book has been devoted to analyzing the careers of these three critics, and never before has their role in the historiography and periodization of American art been analyzed. The conclusions drawn from this close rereading of well-known texts challenge the fundamental nature of “historical context” in American art history.
