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Author: James M. Dennis
Publisher: Univ of Wisconsin Press
ISBN: 9780299155803
Category : Art
Languages : en
Pages : 300
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Book Description
Author: James M. Dennis
Publisher: Univ of Wisconsin Press
ISBN: 9780299155803
Category : Art
Languages : en
Pages : 300
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Book Description
Author: Gerry Souter
Publisher: Parkstone International
ISBN: 1783107677
Category : Art
Languages : en
Pages : 509
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Book Description
Urban realism, snow-covered streets of New York, boxing matches, children on the banks of a river, the painters of the Ash Can School preferred realistic images. Their paintings are a true hymn to noise and sensations. This unconventional movement enabled the birth of a true national artistic identity which broke free from the establishment. The Ash Can School resolutely promoted the affirmation of the modernist current of American art. Edward Hopper, who was a student of Robert Henri, embraced the principles of this movement and brought them to another level.
Author: Robert H. Brinkmeyer
Publisher: LSU Press
ISBN: 0807134805
Category : Literary Criticism
Languages : en
Pages : 432
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Book Description
In the 1949 classic Killers of the Dream, Lillian Smith described three racial "ghosts" haunting the mind of the white South: the black woman with whom the white man often had sexual relations, the rejected child from a mixed-race coupling, and the black mammy whom the white southern child first loves but then must reject. In this groundbreaking work, Robert H. Brinkmeyer, Jr., extends Smith's work by adding a fourth "ghost" lurking in the psyche of the white South -- the specter of European Fascism. He explores how southern writers of the 1930s and 1940s responded to Fascism, and most tellingly to the suggestion that the racial politics of Nazi Germany had a special, problematic relevance to the South and its segregated social system. As Brinkmeyer shows, nearly all white southern writers in these decades felt impelled to deal with this specter and with the implications for southern identity of the issues raised by Nazism and Fascism. Their responses varied widely, ranging from repression and denial to the repulsion of self-recognition. With penetrating insight, Brinkmeyer examines the work of writers who contemplated the connection between the authoritarianism and racial politics of Nazi Germany and southern culture. He shows how white southern writers -- both those writing cultural criticism and those writing imaginative literature -- turned to Fascist Europe for images, analogies, and metaphors for representing and understanding the conflict between traditional and modern cultures that they were witnessing in Dixie. Brinkmeyer considers the works of a wide range of authors of varying political stripes: the Nashville Agrarians, W. J. Cash, Lillian Smith, William Alexander Percy, Thomas Wolfe, William Faulkner, Katherine Anne Porter, Carson McCullers, Robert Penn Warren, and Lillian Hellman. He argues persuasively that by engaging in their works the vital contemporary debates about totalitarianism and democracy, these writers reconfigured their understanding not only of the South but also of themselves as southerners, and of the nature and significance of their art. The magnum opus of a distinguished scholar, The Fourth Ghost offers a stunning reassessment of the cultural and political orientation of southern literature by examining a major and heretofore unexplored influence on its development.
Author: Daniel Boscaljon
Publisher: Routledge
ISBN: 1317065018
Category : Religion
Languages : en
Pages : 243
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Book Description
People often overlook the uncanny nature of homecomings, writing off the experience of finding oneself at home in a strange place or realizing that places from our past have grown strange. This book challenges our assumptions about the value of home, arguing for the ethical value of our feeling displaced and homeless in the 21st century. Home is explored in places ranging from digital keyboards to literary texts, and investigates how we mediate our homecomings aesthetically through cultural artifacts (art, movies, television shows) and conceptual structures (philosophy, theology, ethics, narratives). In questioning the place of home in human lives and the struggles involved with defining, defending, naming and returning to homes, the volume collects and extends ideas about home and homecomings that will inform traditional problems in novel ways.
Author: Sue Taylor
Publisher: University of Virginia Press
ISBN: 1644531674
Category : Art
Languages : en
Pages : 507
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Book Description
Incorporating copious archival research and original close readings of American artist Grant Wood’s iconic as well as lesser-known works, Grant Wood’s Secrets reveals how his sometimes anguished psychology was shaped by his close relationship with his mother and how he channeled his lifelong oedipal guilt into his art. Presenting Wood’s abortive autobiography "Return from Bohemia" for the first time ever, Sue Taylor integrates the artist’s own recollections into interpretations of his art. As Wood dressed in overalls and boasted about his beloved Midwest, he consciously engaged in regionalist strategies, performing a farmer masquerade of sorts. In doing so, he also posed as conventionally masculine, hiding his homosexuality from his rural community. Thus, he came to experience himself as a double man. This book conveys the very real threats under which Wood lived and pays tribute to his resourceful responses, which were often duplicitous and have baffled art historians who typically take them at face value.
Author: Cora Sol Goldstein
Publisher: University of Chicago Press
ISBN: 0226301710
Category : Political Science
Languages : en
Pages : 240
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Book Description
Shedding new light on the American campaign to democratize Western Germany after World War II, Capturing the German Eye uncovers the importance of cultural policy and visual propaganda to the U.S. occupation. Cora Sol Goldstein skillfully evokes Germany’s political climate between 1945 and 1949, adding an unexpected dimension to the confrontation between the United States and the USSR. During this period, the American occupiers actively vied with their Soviet counterparts for control of Germany’s visual culture, deploying film, photography, and the fine arts while censoring images that contradicted their political messages. Goldstein reveals how this U.S. cultural policy in Germany was shaped by three major factors: competition with the USSR, fear of alienating German citizens, and American domestic politics. Explaining how the Americans used images to discredit the Nazis and, later, the Communists, she illuminates the instrumental role of visual culture in the struggle to capture German hearts and minds at the advent of the cold war.
Author: Lauren Kroiz
Publisher: Univ of California Press
ISBN: 0520286561
Category : Art
Languages : en
Pages : 310
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Book Description
"Cultivating Citizens rethinks the aesthetics and politics of regionalism in the United States during the 1930s and 1940s. During this period, painters Grant Wood, Thomas Hart Benton, and John Steuart Curry formed a loose alliance as American Regionalists. Some lauded their depictions of the rural landscape and hardworking inhabitants of America's midwestern heartland. Others deemed Regionalist painting dangerous, regarding its easily understood realism as a vehicle for jingoism, chauvinism, and even fascism. Cultivating Citizens shifts the terms of this ongoing debate over subject matter and style by considering heretofore neglected Regionalist programs of art education and concepts of artistic labor."--Provided by publisher.
Author: Justin Wolff
Publisher: Macmillan
ISBN: 0374199876
Category : Art
Languages : en
Pages : 416
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Book Description
Born in Missouri at the end of the nineteenth century, Thomas Hart Benton would become the most notorious and celebrated painter America had ever seen. The first artist to make the cover of Time, he was a true original: an heir to both the rollicking populism of his father's political family and the quiet life of his Appalachian grandfather. In his twenties, he would find his calling in New York, where he was drawn to memories of his small-town youth—and to visions of the American scene. By the mid-1930s, Benton's heroic murals were featured in galleries, statehouses, universities, and museums, and magazines commissioned him to report on the stories of the day. Yet even as the nation learned his name, he was often scorned by critics and political commentators, many of whom found him too nationalistic and his art too regressive. Even Jackson Pollock, his once devoted former student, would turn away from him in dramatic fashion. A boxer in his youth, Benton was quick to fight back, but the widespread backlash had an impact—and foreshadowed many of the artistic debates that would dominate the coming decades. In this definitive biography, Justin Wolff places Benton in the context of his tumultuous historical moment—as well as in the landscapes and cultural circles that inspired him. Thomas Hart Benton—with compelling insights into Benton's art, his philosophy, and his family history—rescues a great American artist from myth and hearsay, and provides an indelibly moving portrait of an influential, controversial, and often misunderstood man.
Author: R. Tripp Evans
Publisher: Knopf
ISBN: 030726629X
Category : Art
Languages : en
Pages : 433
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Book Description
He claimed to be “the plainest kind of fellow you can find. There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work. Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”
Author: Udo J. Hebel
Publisher: Walter de Gruyter
ISBN: 3110237857
Category : Art
Languages : en
Pages : 449
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Book Description
The pictorial turn in the humanities and social sciences has emphasized the political power of images and the extent to which historical, political, social, and cultural processes and practices are shaped visually. The volume gathers original articles by visual culture studies experts in the fields of Art History, American Studies, History, and Political Science from Europe and the United States. The collection explores the political function and cultural impact of images and how political iconographies interpret norms of actions, support ideological formations, and enhance moral concepts. Visual rhetorics are understood as active players in the construction and contestation of the political realm and public space. Individual essays address concepts and theories for a politics of art and perception, investigate national(ist) forms of political representation on both sides of the Atlantic, and interpret the iconographic repertoires of specific cultures and political systems from the eighteenth century to the immediate present.
