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This is the first monograph on a major American artist, Robert Indiana, who came of age creatively in the pop era and who paints the American dream in letters and numbers. His material is the iconography of the American landscape-highway signs and commercial labels, traffic warnings, diners, juke joints, and pinball machines.
Excerpt from Art and Artists of Indiana The appreciation of art in Indiana has made a splendid growth within the last decade. It has been encouraged and fostered by the women's clubs studying art, and by the Indiana Artists' Traveling Exhibition, which has been sent out annually by the Art Committee of the Indiana Federation of Clubs. This has made an exhibit of original art possible in the large cities, as well as in the smaller villages of the state. The intelligent instruction in art given in the public schools is rapidly creating a definite, discriminating taste and enjoyment for better decoration, pictures of worth, and architecture of intrinsic value. It is our privilege to be the custodian in our time of the heritage of those who are to come. The art of Indiana for years was very meager, but the future art promises to rank with that of the best. A New York art critic recently said: "The art and artists of Indiana lead all other states in number and quality of production." The lack of perspective, and the connecting link of the ever-present, renders the writing of history difficult. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The collection consists of a mimeographed copy of the typescript of a paper by Louis H. Gibson, "Indiana Art and Artists," which was published in modified form in the Indianapolis News July 20, 1893. It discusses numerous contemporary Indiana artists and architects, Indiana art and architecture in general, art and music schools around the state, and includes two discussions of New Harmony and Robert Owen.
Closely associated with artists such as T. C. Steele and J. Ottis Adams, William J. Forsyth studied at the Royal Academy in Munich then returned home to paint what he knew best—the Indiana landscape. It proved a rewarding subject. His paintings were exhibited nationally and received major awards. With full-color reproductions of Forsyth's most important paintings and previously unpublished photographs of the artist and his work, this book showcases Forsyth's fearless experiments with artistic styles and subjects. Drawing on his personal letters and other sources, Rachel Berenson Perry discusses Forsyth and his art and offers fascinating insights into his personality, his relationships with his students, and his lifelong devotion to teaching and educating the public about the importance of art.
Richly illustrated with more than 160 full-color plates, Masterworks from the Indiana University Art Museum presents a selection of the finest works from one of the best university art museums in the world. Included are examples from the full range of world cultures collected by the museum: Africa, the Ancient Western World, Asia, Ancient America, the South Pacific, and Western Art before and after 1800. The entry accompanying each piece, by the curator of that collection, sketches the cultural context within which the object was created and used and describes the unique qualities that make it a masterpiece. In addition to showcasing the research of the museum's highly respected curatorial staff, this handsome volume highlights the remarkable photography of Michael Cavanagh and Kevin Montague, widely regarded as among the premier photographers of fine arts. For students, lovers, and collectors of art, Masterworks provides an inspiring and illuminating tour of the world's artistic traditions.
Robert Indiana's works all speak to the vital forces that have shaped American culture in the last half of the 20th century. The American Dream is the cornerstone of Indiana's mature work. It was the theme of his first major painting, sold to the Museum of Modern Art in 1961, as well as an ongoing series. Indiana also created one of the most widely recognized works of art in the world, Love. Much of Indiana's important contribution to American art has been overshadowed by the proliferation, pirating, and mass production of works bearing the image of Love. Daniel E. O'Leary discusses the artist's development through an examniation of his journal/sketchbooks from 1958-1963; Susan Elizabeth Ryan investigates Indiana's painting Love, its origins and impact on the artist's career; and Aprile Gallant contributes an essay on Indiana's preoccupation with the idea of the American Dream.