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Decorative painters love the charming country landscapes found in the art of American masters Grant Wood, Rufus Porter and Charles Wysocki. Their simplified styles celebrate rural America through paintings of rolling hills and farmlands dotted with sheep or old-fashioned farm houses.Now, anyone can paint these nostalgic scenes with the easy instructions found in Painting Americana. In this book, readers learn:* Simple techniques for painting hills, farm animals, trees, barns and more that even beginners can master* How to achieve rustic effects on wood and metal surfaces* 10 unique step-by-step projects, including a Pennsylvania Dutch design on a door crown and French country chickens on a bentwood boxStunning finished pieces make perfect gifts and family keepsakes.
Describes the transformation in American art as a vast group of American artists settled in Paris to study with the great French painters, and continued through the twentieth century as French artists began to leave Paris for New York.
Fans of Charles Wysocki, Mary Engelbreit, Grandma Moses, and folk art in general will fall in love with this guide to painting, organized by seasons. Featuring projects that instruct artists of all skill levels how to draw and paint subjects that include quaint homes, pretty patterns, colorful gardens, picturesque farms, beautiful birds, and textured florals, this book features American-themed folk art infused with a modern twist. Beginning with an overview of what folk art is, followed by introductory topics like color, tools and materials, and drawing and painting techniques, Folk Art Fusion: Americana also includes sixteen simple step-by-step projects done in approachable and popular mediums. Rounding out the book is a gallery of folk-art pieces sure to inspire lovers of all things Americana. Simultaneously fresh and nostalgic, Folk Art Fusion: Americana draws on America’s rich artistic tradition and heritage and provides a fun, accessible take on creating beloved scenes from the heartland.
Describes Grant Wood's portrait of Iowa farmers, and documents how the piece has represented midwestern Puritanism, hard-working endurance, and the often-parodied American heartland.
Collects the best artwork created before, during and following the Civil War, in the years between 1859 and 1876, along with extensive quotations from men and women alive during the war years and text by literary figures, including Emily Dickinson, Mark Twain and Walt Whitman. 15,000 first printing.
This clear, thorough, and reliable survey of American painting and sculpture from colonial times to the present day covers all the major artists and their works, outlines the social and cultural backgrounds of each period, and includes 409 illustrations integrated with the text. Although some determining factors in American art are considered, Matthew Baigell views the rich and diverse achievements of American art as the result of the efforts and talents of a pluralistic society rather than as fitting into a particular mold.This edition includes corrections and revisions to the text, an updated bibliography, and 13 new illustrations.
" Food has always been an important source of knowledge about culture and society. Art and Appetite takes a fascinating new look at depictions of food in American art, demonstrating that the artists' representations of edibles offer thoughtful reflection on the cultural, political, economic, and social moments in which they were created. Using food as an emblem, artists were able to both celebrate and critique their society, expressing ideas relating to politics, race, class, gender, and commerce. Focusing on the late 18th century through the Pop artists of the 20th century, this lively publication investigates the many meanings and interpretations of eating in America. Richly illustrated, Art and Appetite features still life and trompe l'oeil painting, sculpture, and other works by such celebrated artists as William Merritt Chase, John Singleton Copley, Elizabeth Paxton, Norman Bel Geddes, Stuart Davis, Edward Hopper, Alice Neel, Wayne Thiebaud, Roy Lichtenstein, and many more. Essays by leading experts address topics including the horticultural and botanical underpinnings of still-life paintings, the history of alcohol consumption in the United States, Thanksgiving, and food in the world of Pop art. In addition to the images and essays, this book includes a selection of 18th- and 19th-century recipes for all-American dishes including molasses cake, stewed terrapin, rice blancmange, and roast calf's head. "--
Published to accompany a major transatlantic exhibition, a tribute to U.S. landscape painting features more than one hundred works by the Hudson River School artists, complemented by three gatefolds, artist biographies, and essays on American landscape painting in the context of international traditions and national identity. (Fine Arts)
American genre painting flourished in the thirty years before the Civil War, a period of rapid social change that followed the election of President Andrew Jackson. It has long been assumed that these paintings--of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk--served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this enlightening book Elizabeth Johns presents a different interpretation--arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time. Analyzing works by William Sidney Mount, George Caleb Bingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humor and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newspapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers. Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices--and not a blissful celebration of American democracy--that informed the look and the richly ambiguous content of genre painting.