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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.
"John Caspar Wild, painter and lithographer, produced some of the earliest known depictions of urban America in the nineteenth century. This heavily illustrated book presents artist Wild's paintings and prints, and a catalogue raisonné identifies all of his known works"--Provided by publisher.
"The Metropolitan Museum began acquiring American drawings and watercolors in 1880, just ten years after its founding. Since then it has amassed more than 1,500 works executed by American artists during the eighteenth and nineteenth centuries in watercolor, pastel, chalk, ink, graphite, gouache, and charcoal. This volume documents the draftsmanship of more than 150 known artists before 1835 and that of about 60 unidentified artists of the period. It includes drawings and watercolors by such American masters as John Singleton Copley, John Trumbull, John Vanderlyn, Thomas Cole, Asher Brown Durand, George Inness, and James Abbott McNeill Whistler. Because the 504 works illustrate such a wide range of media, techniques, and styles, this publication is a veritable history of American drawing from the eighteenth through most of the nineteenth century."--Metropolitan Museum of Art website.
One of three chronologically arranged catalogues that document the Metropolitan Museum's outstanding collection of American paintings.
Chiefly illustrated catalog of an exhibition held in celebration of the hundredth anniversary of the Metropolitan Museum of Art, held at the Metropolitan Museum of Art from April 16 through September 7, 1970.
This book analyzes how American painters, sculptors, and writers, active between 1800 and 1865, depicted their response to a democratic society that failed to adequately support them financially and intellectually. Without the traditional European forms of patronage from the church or the crown, American artists faced unsympathetic countrymen who were unaccustomed to playing the role of patron and less than generous in rewarding creativity. It was in this unrewarding landscape that American artists in the first half of the nineteenth century employed the “struggling” or “starving artist” image to criticize the country’s lack of patronage and immortalize their own struggles. Although the concept of the struggling artist is well known, only a select few artists chose to represent themselves in this negative manner. Using works from five decades, Schneider demonstrates how the artists, such as Washington Allston, Charles Bird King, David Gilmour Blythe, represented a larger phenomenon of artistic struggle in America. The artists’ journals, letters, and biographies reveal how native artists’ desire to create imaginative works came in conflict with American patrons’ more practical interests in portraiture and later in the century, genre work. If artists wanted to avoid financial struggle, they had to learn to capitulate to patrons’ demands. This intellectual struggle would prove the most difficult. In addition to the fine arts, the struggling artist type in essays, poems, short stories, and novels, whose tales mirror the frustrations facing fine artists, are also considered. Through an examination of the development of art academies and exhibition venues, this study traces the evolution of a young nation that went from considering artists as mere craftsmen to recognizing them as important members of a civilized society.
Martin Johnson Heade was one of the most significant American painters of the nineteenth century, creator of portraits, history and genre pictures, still lifes, ornithological studies, landscapes, and marines, and his own unique orchid and hummingbird compositions. This book brings a perspective to Heade and his works, presenting him as one of the most original and productive painters of his time. Theodore Stebbins builds on his acclaimed 1975 study of Heade, drawing on several newly discovered collections of Heade's letters and the painter's own Brazilian journal. Stebbins tells of Heade's training and early career as an itinerant portraitist and discusses his move to New York, where, under the influence of Frederic E. Church, he began painting landscapes and seascapes. He examines Heade's relationships with patrons and dealers, writers and scientists, and he sheds new light on Heade’s trips to Brazil, to the Central American tropics, and to London. And he describes Heade's move to Florida in 1883, which marked not his retirement but a final period of creativity that lasted until his death in 1904. The book includes not only an examination of Heade's life and works but also reproductions of all his 620 known paintings, including nearly 250 that have been discovered since 1975.
"Tells the story of American marine painting from the colonial period to the present, grouping artists by their styles and setting their work in historical context."--Dust jacket.
First published in 1977. The purpose of this study is to locate the sources for the American style of painting characterised by measure and design – the representation of the specific and familiar according to principles of pictorial order. The reader shall see that there were a variety of conventions available to the artist and that his selection of one or another of them depended upon pragmatic, philosophical, and aesthetic considerations.
In this richly illustrated volume, featuring more than fifty black-and-white illustrations and a beautiful eight-page color insert, Barbara Novak describes how for fifty extraordinary years, American society drew from the idea of Nature its most cherished ideals. Between 1825 and 1875, all kinds of Americans--artists, writers, scientists, as well as everyday citizens--believed that God in Nature could resolve human contradictions, and that nature itself confirmed the American destiny. Using diaries and letters of the artists as well as quotes from literary texts, journals, and periodicals, Novak illuminates the range of ideas projected onto the American landscape by painters such as Thomas Cole, Albert Bierstadt, Frederic Edwin Church, Asher B. Durand, Fitz H. Lane, and Martin J. Heade, and writers such as Ralph Waldo Emerson, Henry David Thoreau, and Frederich Wilhelm von Schelling. Now with a new preface, this spectacular volume captures a vast cultural panorama. It beautifully demonstrates how the idea of nature served, not only as a vehicle for artistic creation, but as its ideal form. "An impressive achievement." --Barbara Rose, The New York Times Book Review "An admirable blend of ambition, elan, and hard research. Not just an art book, it bears on some of the deepest fantasies of American culture as a whole." --Robert Hughes, Time Magazine