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Author: Bennard B. Perlman
Publisher: State University of New York Press
ISBN: 1438415877
Category : Art
Languages : en
Pages : 526
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Book Description
This is the first full-length biography of the American artist Arthur B. Davies, who played a major role in twentieth-century American art's coming-of-age. It was Davies who made possible the landmark exhibitions of The Eight and The Rockwell Kent Independent, and in 1913 he emerged as the mastermind behind the Armory Show, the first large-scale display of European modern art in the United States. Dozens of the country's best-known collectors purchased their initial avant-garde acquisitions at this show, and U.S. artists, in turn, could no longer be kept in check by the conservative National Academy after viewing works by Duchamp, Matisse, Picasso, and others. Drawing on extensive archival research, including previously unavailable letters and diaries, this book covers the breadth and depth of the artist's life and career, from his boyhood in Utica in the 1860s; through his close association with such artists and collectors as Robert Henri, John Sloan, Alfred Stieglitz, Lizzie Bliss, and Abby Aldrich Rockefeller; to his death in Italy in 1928 in the company of his mistress, with whom he had lived a secret double life as "David A. Owen" for more than twenty years. Included are 101 color and black-and-white illustrations of Davies's own work, ranging from romantic dream visions to fragmented cubist forms, as well as photographs depicting his family and friends. Davies, who worked in over twenty different media, was called "one of the foremost artists in this country" and "one of the greatest artists of our time," and his work is represented in major collections throughout the United States. The illustrations alone, many of works in private collections and available here to the public for the first time, as well as the appended chronology, exhibition checklist, and list of addresses, make this a valuable addition to the library of every art dealer, curator, and student of American art. But equally fascinating is the story of the forces, personalities, and relationships that helped shape the course of twentieth-century American art.
Author: Bennard B. Perlman
Publisher: State University of New York Press
ISBN: 1438415877
Category : Art
Languages : en
Pages : 526
Get Book Here
Book Description
This is the first full-length biography of the American artist Arthur B. Davies, who played a major role in twentieth-century American art's coming-of-age. It was Davies who made possible the landmark exhibitions of The Eight and The Rockwell Kent Independent, and in 1913 he emerged as the mastermind behind the Armory Show, the first large-scale display of European modern art in the United States. Dozens of the country's best-known collectors purchased their initial avant-garde acquisitions at this show, and U.S. artists, in turn, could no longer be kept in check by the conservative National Academy after viewing works by Duchamp, Matisse, Picasso, and others. Drawing on extensive archival research, including previously unavailable letters and diaries, this book covers the breadth and depth of the artist's life and career, from his boyhood in Utica in the 1860s; through his close association with such artists and collectors as Robert Henri, John Sloan, Alfred Stieglitz, Lizzie Bliss, and Abby Aldrich Rockefeller; to his death in Italy in 1928 in the company of his mistress, with whom he had lived a secret double life as "David A. Owen" for more than twenty years. Included are 101 color and black-and-white illustrations of Davies's own work, ranging from romantic dream visions to fragmented cubist forms, as well as photographs depicting his family and friends. Davies, who worked in over twenty different media, was called "one of the foremost artists in this country" and "one of the greatest artists of our time," and his work is represented in major collections throughout the United States. The illustrations alone, many of works in private collections and available here to the public for the first time, as well as the appended chronology, exhibition checklist, and list of addresses, make this a valuable addition to the library of every art dealer, curator, and student of American art. But equally fascinating is the story of the forces, personalities, and relationships that helped shape the course of twentieth-century American art.
Author: Richard H. Love
Publisher: University Rochester Press
ISBN: 9781580460248
Category : Art
Languages : en
Pages : 960
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Book Description
Throughout his life Peters depicted the ordinary places and people of America. From Rochester to Rockport, Peters made an amazingly coherent group of fascinating, masterful American pictures.
Author: Susan Rather
Publisher: University of Texas Press
ISBN: 0292785968
Category : Art
Languages : en
Pages : 285
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Book Description
Archaism, an international artistic phenomenon from early in the twentieth century through the 1930s, receives its first sustained analysis in this book. The distinctive formal and technical conventions of archaic art, especially Greek art, particularly affected sculptors—some frankly modernist, others staunchly conservative, and a few who, like American Paul Manship, negotiated the distance between tradition and modernity. Susan Rather considers the theory, practice, and criticism of early twentieth-century sculpture in order to reveal the changing meaning and significance of the archaic in the modern world. To this end—and against the background of Manship’s career—she explores such topics as the archaeological resources for archaism, the classification of the non-Western art of India as archaic, the interest of sculptors in modem dance (Isadora Duncan and Ruth St. Denis), and the changing critical perception of archaism. Rather rejects the prevailing conception of archaism as a sterile and superficial academic style to argue its initial importance as a modernist mode of expression. The early practitioners of archaism—including Aristide Maillol, André Derain, and Constantin Brancusi—renounced the rhetorical excess, overrefined naturalism, and indirect techniques of late nineteenth-century sculpture in favor of nonnarrative, stylized and directly carved works, for which archaic Greek art offered an important example. Their position found implicit support in the contemporaneous theoretical writings of Emmanuel Löwy, Wilhelm Worringer, and Adolf von Hildebrand. The perceived relationship between archaic art and tradition ultimately compromised the modernist authority of archaism and made possible its absorption by academic and reactionary forces during the 1910s. By the 1920s, Paul Manship was identified with archaism, which had become an important element in the aesthetic of public sculpture of both democratic and totalitarian societies. Sculptors often employed archaizing stylizations as ends in themselves and with the intent of evoking the foundations of a classical art diminished in potency by its ubiquity and obsolescence. Such stylistic archaism was not an empty formal exercise but an urgent affirmation of traditional values under siege. Concurrently, archaism entered the mainstream of fashionable modernity as an ingredient in the popular and commercial style known as Art Deco. Both developments fueled the condemnation of archaism—and of Manship, its most visible exemplar—by the avant-garde. Rather’s exploration of the critical debate over archaism, finally, illuminates the uncertain relationship to modernism on the part of many critics and highlights the problematic positions of sculpture in the modernist discourse.
Author: Victoria Grieve
Publisher: University of Illinois Press
ISBN: 025203421X
Category : Art and state
Languages : en
Pages : 242
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Book Description
Art for everyone--the Federal Art Project's drive for middlebrow visual culture and identity
Author: Howard Wayne Morgan
Publisher: Kent State University Press
ISBN: 9780873383905
Category : Architecture
Languages : en
Pages : 212
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Book Description
The conflict between modern and traditional art is one of the best known episodes in American cultural history. The modernists on the war in the sense that their styles and attitudes of mind dominated the discussion and production of new art. But the traditionalists remained strong in the arenas of public opinion and taste. It is a testament to the importance of the ideas involved that the basic issues are not yet settled in the larger cultural world. Kenyon Cox, a painter as well as critic, revealed a steadfast devotion to the ideals of a high art tradition, derived in his later years chiefly from admiration for the Italian Renaissance. He knew western art history, surveyed the current art scene in many reviews and analytical essays, and wrote with careful attention to the canons of scholarship. Royals Cartissoz, the art editor of the New York Tribune for over fifty years, was an appreciator and connoisseur. His belief in "beauty" in a well-done and recognizable form left him open to more innovation than was the case with Cox. He based his views on a self-confessed ideal of common sense that left the art experience open to any sensitive person. He was well suited to speak to and for the growing middle class in the Progressive era. This viewpoint was equally adaptable, if more debatable intellectually, when modernism triumphed. The fact that he remained a significant figure in art circles long after his tastes ceased to be dominant, testified to the nature of the audience for whom and to whom he spoke. Frank Jewett Mather, Jr., was the most realistic of these critics in estimating how art appealed in society. He knew a lot about many things and was concerned to see that the arts remained integrated in public esteem and thought. Mather took comfort from the history of art, which revealed to him that great works and their creators could survive time and criticism. This sense of historical process and his great need for the unifying power of art experience let Mather escape the bitterness that so affected Cox, and to a lesser extent Cortissoz, as tastes changed. The artist's mission was to maintain and extend forms of art that promoted order and integration in society and in individual personalities. Society in turn had to see the artist as a harbinger of an intensified emotional life, but which accommodated changed perception in constructive ways. The chief fear of the traditionalists was that the new art, which seemed shocking in form and disruptive in intent, would separate artist and public to the detriment of both.
Author: Henry McBride
Publisher: Yale University Press
ISBN: 9780300083262
Category : Biography & Autobiography
Languages : en
Pages : 392
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Book Description
Philippe Sands has extensively revised this leading textbook to include all new developments since 1994, including all the international case-law (ICJ, ITLOS, WTO, human rights etc.) and new international legislation (genetically modified organisms, the Kyoto Protocol, oil pollution, chemicals etc.). It is the most comprehensive account of the principles and rules relating to the protection of the environment and the conservation of natural resources. It incorporates all the key material from the 1992 Rio Declaration and subsequent developments. Topics include: the legal and institutional framework; the field's historic development; standards for general application in addition to the protection of the atmosphere, oceans etc.; the techniques available for implementation such as the environmental impact assessment and liability/compensation for environmental damage. It will be used on its own as an academic course text, as well as a reference text for practitioners.
Author: Lenore Clark
Publisher: Kent State University Press
ISBN: 9780873387101
Category : Art
Languages : en
Pages : 286
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Book Description
This is a biography of Forbes Watson, art commentator for the New York Evening Post and New York World but probably best known as the editor of The Arts, an influential art magazine of the 1920s.
Author: Wesley Monroe Shrum, Jr.
Publisher: Princeton University Press
ISBN: 0691227632
Category : Performing Arts
Languages : en
Pages : 319
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Book Description
Why does the distinction between high and popular art persist in spite of postmodernist predictions that it should vanish? Departing from the conventional view that such distinctions are class-related, Wesley Shrum concentrates instead on the way individuals form opinions about culture through the mediation of critics. He shows that it is the extent to which critics shape the reception of an art form that determines its place in the cultural hierarchy. Those who patronize "lowbrow" art--stand-up comedy, cabaret, movies, and popular music--do not heed critical opinions nearly as much as do those who patronize "highbrow" art--theater, opera, and classical music. Thus the role of critics is crucial to understanding the nature of cultural hierarchy and its persistence. Shrum supports his argument through an inquiry into the performing arts, focusing on the Edinburgh Fringe, the world's largest and most diverse art festival. Beginning with eighteenth-century London playhouses and print media, where performance art criticism flourished, Shrum examines the triangle of mediation involving critics, spectators, and performers. The Fringe is shown to parallel modern art worlds, where choices proliferate along with the demand for guidance. Using interviews with critics and performers, analysis of audiences, and published reviews as well as dramatic vignettes, Shrum reveals the impact of critics on high art forms and explores the "status bargain" in which consumers are influenced by experts in return for prestige.
Author: Dario Gamboni
Publisher: University of Chicago Press
ISBN: 0226280551
Category : Art
Languages : en
Pages : 426
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Book Description
French symbolist artist Odilon Redon (1840–1916) seemed to thrive at the intersection of literature and art. Known as “the painter-writer,” he drew on the works of Poe, Baudelaire, Flaubert, and Mallarmé for his subject matter. And yet he concluded that visual art has nothing to do with literature. Examining this apparent contradiction, The Brush and the Pen transforms the way we understand Redon’s career and brings to life the interaction between writers and artists in fin-de-siècle Paris. Dario Gamboni tracks Redon’s evolution from collaboration with the writers of symbolism and decadence to a defense of the autonomy of the visual arts. He argues that Redon’s conversion was the symptom of a mounting crisis in the relationship between artists and writers, provoked at the turn of the century by the growing power of art criticism that foreshadowed the modernist separation of the arts into intractable fields. In addition to being a distinguished study of this provocative artist, The Brush and the Pen offers a critical reappraisal of the interaction of art, writing, criticism, and government institutions in late nineteenth-century France.
Author:
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 258
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Book Description
