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Author: Deborah J. Johnson
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 174
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Book Description
Historical Society, William Sidney Mount: Painter of American Life is a major exhibition exploring the career of an artist who virtually invented American genre painting. The exhibition, organized by The Museums at Stony Brook and The American Federation of Arts, will later travel to the Frick Art Museum in Pittsburgh and the Amon Carter Museum in Fort Worth. William Sidney Mount (1807-1868) was the first American-born painter to achieve widespread fame for his depictions of everyday life. This major loan exhibition, the first focused consideration of Mount's artistic achievement, will present his works in all media. The chronologically-organized exhibition juxtaposes finished paintings with preparatory sketches and prints in order to examine both Mount's working methods and the manner in which his paintings were disseminated through the print medium. The selection will reveal how thoroughly Mount's images penetrated 19th-century American culture and how his vision of culture in the formative decades of the country helped shape the way the nation sees itself today. The exhibition includes several William Sidney Mount paintings from the permanent collection of The New-York Historical Society: Coming to the Point, Dregs in the Cup and Bargaining for a Horse. ...
Author: Deborah J. Johnson
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 174
Get Book Here
Book Description
Historical Society, William Sidney Mount: Painter of American Life is a major exhibition exploring the career of an artist who virtually invented American genre painting. The exhibition, organized by The Museums at Stony Brook and The American Federation of Arts, will later travel to the Frick Art Museum in Pittsburgh and the Amon Carter Museum in Fort Worth. William Sidney Mount (1807-1868) was the first American-born painter to achieve widespread fame for his depictions of everyday life. This major loan exhibition, the first focused consideration of Mount's artistic achievement, will present his works in all media. The chronologically-organized exhibition juxtaposes finished paintings with preparatory sketches and prints in order to examine both Mount's working methods and the manner in which his paintings were disseminated through the print medium. The selection will reveal how thoroughly Mount's images penetrated 19th-century American culture and how his vision of culture in the formative decades of the country helped shape the way the nation sees itself today. The exhibition includes several William Sidney Mount paintings from the permanent collection of The New-York Historical Society: Coming to the Point, Dregs in the Cup and Bargaining for a Horse. ...
Author: Christopher J Smith
Publisher: University of Illinois Press
ISBN: 0252095049
Category : Music
Languages : en
Pages : 353
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Book Description
The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners. Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The "Africanization" of Anglo-Celtic tunes created minstrelsy's musical "creole synthesis," a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music. Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange.
Author: Chris Goertzen
Publisher: Univ. Press of Mississippi
ISBN: 1496827317
Category : Music
Languages : en
Pages : 241
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Book Description
This unique volume is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections. The reader learns what the tunes of the day were, what the fiddlers’ lives were like, and as much as can be discovered about how fiddling sounded then. Personal histories and tunes’ biographies offer an accessible window on a fascinating period, on decades of growth and change, and on rich cultural history made audible. In the decades before the Civil War, American fiddling thrived mostly in oral tradition, but some fiddlers also wrote down versions of their tunes. This overlap between oral and written traditions reveals much about the sounds and social contexts of fiddling at that time. In the early 1800s, aspiring young violinists maintained manuscript collections of tunes they intended to learn. These books contained notations of oral-tradition dance tunes—many of them melodies that predated and would survive this era—plus plenty of song melodies and marches. Chris Goertzen takes us into the lives and repertoires of two such young men, Arthur McArthur and Philander Seward. Later, in the 1830s to 1850s, music publications grew in size and shrunk in cost, so fewer musicians kept personal manuscript collections. But a pair of energetic musicians did. Goertzen tells the stories of two remarkable violinist/fiddlers who wrote down many hundreds of tunes and whose notations of those tunes are wonderfully detailed, Charles M. Cobb and William Sidney Mount. Goertzen closes by examining particularly problematic collections. He takes a fresh look at George Knauff’s Virginia Reels and presents and analyzes an amateur musician’s own questionable but valuable transcriptions of his grandfather’s fiddling, which reaches back to antebellum western Virginia.
Author: Jeff Todd Titon
Publisher: University Press of Kentucky
ISBN: 9780813126227
Category : History
Languages : en
Pages : 286
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Book Description
The South has always been one of the most distinctive regions of the United States, with its own set of traditions and a turbulent history. Although often associated with cotton, hearty food, and rich dialects, the South is also noted for its strong sense of religion, which has significantly shaped its history. Dramatic political, social, and economic events have often shaped the development of southern religion, making the nuanced dissection of the religious history of the region a difficult undertaking. For instance, segregation and the subsequent civil rights movement profoundly affected churches in the South as they sought to mesh the tenets of their faith with the prevailing culture. Editors Walter H. Conser and Rodger M. Payne and the book’s contributors place their work firmly in the trend of modern studies of southern religion that analyze cultural changes to gain a better understanding of religion’s place in southern culture now and in the future. Southern Crossroads: Perspectives on Religion and Culture takes a broad, interdisciplinary approach that explores the intersection of religion and various aspects of southern life. The volume is organized into three sections, such as “Religious Aspects of Southern Culture,” that deal with a variety of topics, including food, art, literature, violence, ritual, shrines, music, and interactions among religious groups. The authors survey many combinations of religion and culture, with discussions ranging from the effect of Elvis Presley’s music on southern spirituality to yard shrines in Miami to the archaeological record of African American slave religion. The book explores the experiences of immigrant religious groups in the South, also dealing with the reactions of native southerners to the groups arriving in the region. The authors discuss the emergence of religious and cultural acceptance, as well as some of the apparent resistance to this development, as they explore the experiences of Buddhist Americans in the South and Jewish foodways. Southern Crossroads also looks at distinct markers of religious identity and the role they play in gender, politics, ritual, and violence. The authors address issues such as the role of women in Southern Baptist churches and the religious overtones of lynching, with its themes of blood sacrifice and atonement. Southern Crossroads offers valuable insights into how southern religion is studied and how people and congregations evolve and adapt in an age of constant cultural change.
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: David Cassedy
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 110
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Book Description
Author: Barbara Novak
Publisher: Oxford University Press
ISBN: 0198042256
Category : Art
Languages : en
Pages : 337
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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: Katherine Kirkpatrick
Publisher:
ISBN: 9781718089211
Category : Juvenile Fiction
Languages : en
Pages : 34
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Book Description
When the American Revolution arrives in Thomas Strong's sleepy Long Island village, his life is turned upside down. His church becomes a fort for the British, and a company of Redcoats are quartered in his family's home. But worst of all, his father is arrested as a traitor and taken away. It's no wonder that Thomas's mother seems to have been affected in the head. She washes and rewashes handkerchiefs and petticoats so that her clothesline is continually full of laundry. The errands on which she sends Thomas are not only peculiar but dangerous, since they take him right past a Redcoat encampment. At first Thomas doesn't know what to make of his mother's behavior, but as he keeps his eyes and ears open, he begins to suspect that things are not necessarily as they seem. Katherine Kirkpatrick's captivating story is based on the Culper Spy Ring, which operated on Long Island and in Connecticut from 1778 - 1783. Its purpose was to send messages to General George Washington about the activities of the British Army in New York City. Ronald Himler's dramatic watercolor illustrations bring this pivotal period of U.S. history to life for contemporary readers. Katherine Kirkpatrick grew up near Setauket in Stony Brook, New York. She first learned of Anna (Nancy) Strong's role in the Culper Spy Ring from Strong's great-great-granddaughter, Kate Strong, whom she interviewed for a fourth-grade project. Kirkpatrick has published eight books for children and young adults, both fiction and nonfiction. She lives in Seattle, Washington. Visit her at http: //katherinekirkpatrick.com . Ronald Himler has illustrated over a hundred books for children. His paintings also appear in art galleries throughout the Southwest, where he is highly acclaimed for his portraits of the Plains Indians. He lives in Tucson, Arizona. To find out more about his work, visit http: //www.ronhimler.com/.
Author: Charles Colbert
Publisher: UNC Press Books
ISBN: 9780807846735
Category : Art
Languages : en
Pages : 474
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Book Description
Despite its widespread popularity in antebellum America, phrenology has rarely been taken seriously as a cultural phenomenon. Charles Colbert seeks to redress this neglect by demonstrating the important contributions the theory made to artistic developmen
Author: Rachel N. Klein
Publisher: University of Pennsylvania Press
ISBN: 0812251946
Category : History
Languages : en
Pages : 296
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Book Description
A study of three controversies that illuminate the changing cultural role of art exhibition in the nineteenth century From the antebellum era through the Gilded Age, New York City's leading art institutions were lightning rods for conflict. In the decades before the Civil War, art promoters believed that aesthetic taste could foster national unity and assuage urban conflicts; by the 1880s such hopes had faded, and the taste for art assumed more personal connotations associated with consumption and domestic decoration. Art Wars chronicles three protracted public battles that marked this transformation. The first battle began in 1849 and resulted in the downfall of the American Art-Union, the most popular and influential art institution in North America at mid-century. The second erupted in 1880 over the Metropolitan Museum's massive collection of Cypriot antiquities, which had been plundered and sold to its trustees by the man who became the museum's first paid director. The third escalated in the mid-1880s and forced the Metropolitan Museum to open its doors on Sunday—the only day when working people were able to attend. In chronicling these disputes, Rachel N. Klein considers cultural fissures that ran much deeper than the specific complaints that landed protagonists in court. New York's major nineteenth-century art institutions came under intense scrutiny not only because Americans invested them with moral and civic consequences but also because they were part and parcel of explosive processes associated with the rise of industrial capitalism. Elite New Yorkers spearheaded the creation of the Art-Union and the Metropolitan, but those institutions became enmeshed in popular struggles related to slavery, immigration, race, industrial production, and the rights of working people. Art Wars examines popular engagement with New York's art institutions and illuminates the changing cultural role of art exhibition over the course of the nineteenth century.
