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In an era when ease of travel is greater than ever, it is also easy to overlook the degree to which voyages of the body – and mind – have generated an outpouring of artistry and creativity throughout the ages. Exploration of new lands and sensations is a fundamental human experience. This volume in turn provides a stimulating and adventurous exploration of the theme of travel from an art-historical perspective. Topical regions are covered ranging from the Grand Tour and colonialism to the travels of Hadrian in ancient times and Georgia O’Keeffe’s journey to the Andes; from Vasari’s Neoplatonic voyages to photographing nineteenth-century Japan. The scholars assembled consider both imaginary travel, as well as factual or embellished documentation of voyages. The essays are far-reaching spatially and temporally, but all relate to how art has documented the theme of travel in varying media across time and as illustrated and described by writers, artists, and illustrators. The scope of this volume is far-reaching both chronologically and conceptually, thereby appropriately documenting the universality of the theme to human experience.
Lists exhibits in the United States, Europe, and Canada, with highlights, cost, hours, addresses, and other data.
The First World War constitutes a point in the history of New York when its character and identity were challenged, recast and reinforced. Due to its pre-eminent position as a financial and trading centre, its role in the conflict was realised far sooner than elsewhere in the United States. This book uses city, state and federal archives, newspaper reports, publications, leaflets and the well-established ethnic press in the city at the turn of the century to explore how the city and its citizens responded to their role in the First World War, from the outbreak in August 1914, through the official entry of the United States in to the war in 1917, and after the cessation of hostilities in the memorials and monuments to the conflict. The war and its aftermath forever altered politics, economics and social identities within the city, but its import is largely obscured in the history of the twentieth century. This book therefore fills an important gap in the histories of New York and the First World War.
The fascinating story of the transformation of American watercolor practice between 1866 and 1925 The formation of the American Watercolor Society in 1866 by a small, dedicated group of painters transformed the perception of what had long been considered a marginal medium. Artists of all ages, styles, and backgrounds took up watercolor in the 1870s, inspiring younger generations of impressionists and modernists. By the 1920s many would claim it as "the American medium." This engaging and comprehensive book tells the definitive story of the metamorphosis of American watercolor practice between 1866 and 1925, identifying the artist constituencies and social forces that drove the new popularity of the medium. The major artists of the movement - Winslow Homer, John Singer Sargent, William Trost Richards, Thomas Moran, Thomas Eakins, Charles Prendergast, Childe Hassam, Edward Hopper, Charles Demuth, and many others - are represented with lavish color illustrations. The result is a fresh and beautiful look at watercolor's central place in American art and culture.