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New York has always attracted artists--because it is electric with passion, endeavor, and hustle, and because they know they will find others of like mind there. The city is a vibrant center of the international art world; no wonder then that both resident and sojourning painters have long felt compelled to capture, interpret, and evoke the place on canvas. Bruce Weber faced a daunting amount of works for inclusion in Paintings of New York. But he chose well, producing a book that combines solid scholarship in history and the arts, warmly readable prose, and gorgeous color images. Artwork included by Piet Mondrian, Ernest Lawson, Maurice Prendergast, William Glackens, Georgia O'Keeffe, Childe Hassam, Raphael Soyer, Charles Frederic Ulrich, Albertus Del Orient Browere, Thomas Moran, Joseph Stella, Elsie Driggs, George Bellows, Otto Boetticher, Robert Henri, George Tooker, Francis Guy, Thomas Hart Benton, and Ben Shahn.
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.
The impulse in much nineteenth-century American painting and culture was to describe nature as a wilderness on which the young nation might freely inscribe its future: the United States as a virgin land, that is, unploughed, unfenced, and unpainted. Insofar as it exhibited evidence of a past, its traces pointed to a geologic or cosmic past, not a human one. The work of the New England artist Fitz H. Lane, however, was decidedly different. In this important study, Margaretta Markle Lovell singles out the more modestly scaled, explicitly inhabited landscapes of Fitz H. Lane and investigates the patrons who supported his career, with an eye to understanding how New Englanders thought about their land, their economy, their history, and their links with widely disparate global communities. Lane’s works depict nature as productive and allied in partnership with humans to create a sustainable, balanced political economy. What emerges from this close look at Lane’s New England is a picture not of a “virgin wilderness” but of a land deeply resonant with its former uses—and a human history that incorporates, rather than excludes, Native Americans as shapers of land and as agents in that history. Calling attention to unexplored dimensions of nineteenth-century painting, Painting the Inhabited Landscape is a major intervention in the scholarship on American art of the period, examining how that body of work commented on American culture and informs our understanding of canon formation.
This companion volume to Delivering Digital Images: Cultural Heritage Resources for Education includes nine essays by project participants highlighting their experiences and recommendations. It covers the impact of digital image availability on teaching and classroom interactions, on university and museum infrastructures, and also speculates about legal issues, including the site licensing model.
Features the art collection of William B Ruger, the famed arms-maker, who passed away in June 2002. Christie's conducted a multi-million dollar auction in December 2002 of the paintings that appear in the book. The book includes approximately 20 paintings sold by Christies, NY and includes 83 colour photos of William B Ruger's private collection. The pieces depict the American West, hunting, wildlife, historical and classic art, and seascapes by artists such as Frederic S Remington, Maxfield Parrish, Albert Bierstadt, Arthur Fitzwilliam Tait and many others. Seth Eastman's 'Winnebago Encampment', Alexander Phimister Proctor's 'The Indian Warrior', and Frank Tenney Johnson's 'Cowboy on Horseback' are examples.
Six plein-air painters in Oakland, California, joined together in 1917 to form an association that lasted nearly fifteen years. The Society of Six—Selden Connor Gile, Maurice Logan, William H. Clapp, August F. Gay, Bernard von Eichman, and Louis Siegriest—created a color-centered modernist idiom that shocked establishment tastes but remains the most advanced painting of its era in Northern California. Nancy Boas's well-informed and sumptuously illustrated chronicle recognizes the importance of these six painters in the history of American Post-Impressionism. The Six found themselves in the position of an avant garde not because they set out to reject conventionality, but because they aspired to create their own indigenous modernism. While the artists were considered outsiders in their time, their work is now recognized as part of the vital and enduring lineage of American art. Depression hardship ended the Six's ascendancy, but their painterliness, use of color, and deep alliance with the land and the light became a beacon for postwar Northern California modern painters such as Richard Diebenkorn and Wayne Thiebaud. Combining biography and critical analysis, Nancy Boas offers a fitting tribute to the lives and exhilarating painting of the Society of Six.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
A collection of highly readable critical essays (1977-2023) by a leader in the field of American social art history. Among the subjects Alan Wallach explores are the art of Thomas Cole, patronage of the Hudson River School, so-called “Luminism,” the rise of the American art museum, the historiography of American art, scholarship and the art market, as well as the work of Augustus Saint-Gaudens, Rockwell Kent, Grant Wood, Philip Evergood, and Norman Rockwell. Throughout, Wallach employs a materialist approach to argue against traditional scholarship that considered American art and art institutions in isolation from their social, historical, and ideological contexts.
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