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The sculpture of Augustus Saint-Gaudens (1848-1907), called the American Michelangelo, has often been compared to the magnificent works of the Renaissance. As an advocate of new ideas and a new approach to sculpture, Saint-Gaudens played a preeminent role in developing America's cultural life and revitalizing the art of sculpture in the modern age. (1861-65), when numerous monuments were commissioned to commemorate the national crisis and subsequent unification. In addition, the amassing of private fortunes during the country's unprecedented economic and financial growth led to an interest in sculpture for personal collections. Saint-Gaudens contributed works of both types. His Shaw Memorial (1897), commemorating the Massachusetts Fifty-fourth Regiment, the first U.S. Army unit of African Americans, and his Lincoln Monument (1887) are among the most moving of the nation's Civil War monuments, while his Adams Memorial (1891) is one of the most evocative of his privately commissioned works. France and spent eight years in Europe, where he found a freer and bolder form of artistic expression. On his return to the United States in 1875, he used his European training to create a new American style incorporating simplicity of subject, realism of form, and strength of emotion. In addition to his monuments, his works also included interior decoration for some of the great houses of the Gilded Age, portrait reliefs, and medals and U.S. coinage. his and the subsequent generation of American sculptors through his teaching and his lead in establishing organizations for the support and training of American artists, including the Society of American Artists. His legacy, as both artist and educator, is nothing less than the shaping of American culture.
The first biography of America's greatest twentieth-century sculptor, Alexander Calder: an authoritative and revelatory achievement, based on a wealth of letters and papers never before available, and written by one of our most renowned art critics. Alexander Calder is one of the most beloved and widely admired artists of the twentieth century. Anybody who has ever set foot in a museum knows him as the inventor of the mobile, America's unique contribution to modern art. But only now, forty years after the artist's death, is the full story of his life being told in this biography, which is based on unprecedented access to Calder's letters and papers as well as scores of interviews. Jed Perl shows us why Calder was--and remains--a barrier breaker, an avant-garde artist with mass appeal. This beautifully written, deeply researched book opens with Calder's wonderfully peripatetic upbringing in Philadelphia, California, and New York. Born in 1898 into a family of artists--his father was a well-known sculptor, his mother a painter and a pioneering feminist--Calder went on as an adult to forge important friendships with a who's who of twentieth-century artists, including Joan Miró, Marcel Duchamp, Georges Braque, and Piet Mondrian. We move through Calder's early years studying engineering to his first artistic triumphs in Paris in the late 1920s, and to his emergence as a leader in the international abstract avant-garde. His marriage in 1931 to the free-spirited Louisa James--she was a great-niece of Henry James--is a richly romantic story, related here with a wealth of detail and nuance. Calder's life takes on a transatlantic richness, from New York's Greenwich Village in the Roaring Twenties, to the Left Bank of Paris during the Depression, and then back to the United States, where the Calders bought a run-down old farmhouse in western Connecticut. New light is shed on Calder's lifelong interest in dance, theater, and performance, ranging from the Cirque Calder, the theatrical event that became his calling card in bohemian Paris to collaborations with the choreographer Martha Graham and the composer Virgil Thomson. More than 350 illustrations in color and black-and-white--including little-known works and many archival photographs that have never before been seen--further enrich the story.
A vibrant and original perspective on the American Revolution through the stories of the five great artists whose paintings animated the new American republic. The images accompanying the founding of the United States--of honored Founders, dramatic battle scenes, and seminal moments--gave visual shape to Revolutionary events and symbolized an entirely new concept of leadership and government. Since then they have endured as indispensable icons, serving as historical documents and timeless reminders of the nation's unprecedented beginnings. As Paul Staiti reveals in Of Arms and Artists, the lives of the five great American artists of the Revolutionary period--Charles Willson Peale, John Singleton Copley, John Trumbull, Benjamin West, and Gilbert Stuart--were every bit as eventful as those of the Founders with whom they continually interacted, and their works contributed mightily to America's founding spirit. Living in a time of breathtaking change, each in his own way came to grips with the history they were living through by turning to brushes and canvases, the results often eliciting awe and praise, and sometimes scorn. Their imagery has connected Americans to 1776, allowing us to interpret and reinterpret the nation's beginning generation after generation. The collective stories of these five artists open a fresh window on the Revolutionary era, making more human the figures we have long honored as our Founders, and deepening our understanding of the whirlwind out of which the United States emerged.
Volume One: This volume catalogues the distinguished and comprehensive collection of approximately 400 works of American sculpture by artists born before 1865. This publication includes an introduction on the history of the collection's formation, particularly in the context of the Museum's early years of acquisitions, and discusses the outstanding personalities involved. --Metropolitan Museum of Art website.
Drawing from historical and private collections around the country, Samella Lewis has gathered an impressive representation of the work of African American artists, from the 18th century to the present. For this edition she has provided a new chapter on art of the last decade. Handsomely and generously illustrated, this book reveals a rich legacy of work by African American painters, sculptors, and graphic artists. "Art historical scholarship is greatly advanced by Samella Lewis's African American Art and Artists in that it foregrounds the work of artists who have been influencing the texture of art in the United States during the last two decades of the 20th century. Throughout African American Art and Artists, Lewis interrogates the issue of identity by presenting the biographical sketch, which locates the individual artistic personality within a specific cultural background with its own peculiar dynamics, giving a face to two cities of Black American art. Without polemics Lewis presents women artists--Edmonia Lewis to Allison Saar--as principal players in constructing an African American visual arts legacy. Here Lewis sufficiently defines the visual arts in order that they may assume their rightful place alongside African American music, literature and folklore as cultural expressions that have helped to give American culture its distinct character."--from the foreword by Floyd Coleman, Harvard University.
Published on the occasion of an exhibition of the same name held at Tate Modern, London, July 12-October 22, 2017; Crystal Bridges Museum of American Art, Bentonville, Arkansas, February 3-April 23, 2018; and Brooklyn Museum, New York, September 7, 2018-February 3, 2019.
At the time of his death, the Pittsburgh-born John White Alexander (1856-1915) was an internationally recognized portrait painter, on a part with his contemporaries John Singer Sargent and William Merritt Chase. However the works that have earned him even greater acclaim than his portraits are his figure paintings of femmes fatales, usually richly attired in flowing dresses and striking elaborate poses. Alexander had been much in demand as a portraitist, both of men and children as well as women, but his real talent, which became evident relatively late in his career, lay in his ability to capture the essence of the female form. This talent blossomed after he encountered Juliette Very, the Parisian model who became his muse. Inspired by Juliette, his paintings are imbued with sentiment expressed through movement and gesture, and it was the portrayal of his models in this way that brought him fame. He also borrowed from the post-impressionist group of painters, the Nabis' use of bold abstract forms and flowing lines, and from James McNeil Whistler's muted coloration, to create his own unique style.
Volume One: This volume catalogues the distinguished and comprehensive collection of approximately 400 works of American sculpture by artists born before 1865. This publication includes an introduction on the history of the collection's formation, particularly in the context of the Museum's early years of acquisitions, and discusses the outstanding personalities involved. --Metropolitan Museum of Art website.