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"From the Renaissance and Mannerism to impressionism and Post-Impressionism, from the Gothic Revival to the Arts and Crafts Movement, and Art Nouveau, the history of Western Art is here narrated through more than 180 articles on its most significant styles and movements. Covering all forms of the visual arts - architecture and decorative arts as well as painting and sculpture, each survey discusses the origins, characteristics, leading players, and influence of the most important movements in European. North American, and Latin American art. With articles written in clear, straightforward language and with selective bibliographies, this extensive guide is an essential introduction for anyone with an interest in art and the arts in general."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Painters Robert Duncanson (ca. 1821–1872) and Edward Bannister (1828–1901) and sculptor Mary Edmonia Lewis (ca. 1844–1907) each became accomplished African American artists. But as emerging art makers of color during the antebellum period, they experienced numerous incidents of racism that severely hampered their pursuits of a profession that many in the mainstream considered the highest form of social cultivation. Despite barriers imposed upon them due to their racial inheritance, these artists shared a common cause in demanding acceptance alongside their white contemporaries as capable painters and sculptors on local, regional, and international levels. Author Naurice Frank Woods Jr. provides an in-depth examination of the strategies deployed by Duncanson, Bannister, and Lewis that enabled them not only to overcome prevailing race and gender inequality, but also to achieve a measure of success that eventually placed them in the top rank of nineteenth-century American art. Unfortunately, the racism that hampered these three artists throughout their careers ultimately denied them their rightful place as significant contributors to the development of American art. Dominant art historians and art critics excluded them in their accounts of the period. In this volume, Woods restores their artistic legacies and redeems their memories, introducing these significant artists to rightful, new audiences.
This book, featuring the life and works of Ralph Blakelock, situates him in the context of American art. Representing over twenty years of study and the examination of several thousand works attributed to him, Beyond Madness reveals the unusual nature of Blakelock’s life story as it offers clear parallels to his painting. Largely self-taught and supported by few patrons, Blakelock regularly struggled with the financial pressures of supporting his nine children and pursuing his art. Called both brilliant and doomed, and institutionalized on and off for the last decade of his life, he nonetheless created some of the most beloved—and some of the most frequently forged—paintings in the American canon. As in the author’s own time, modern assessments of his work are often colored by notions of Blakelock the man, leading to a paradoxical legacy of suffering and hope, obscurity and prominence. Taking Blakelock’s art on its merits, Beyond Madness stands as a testament to the indefatigable spirit of art scholarship as well as a tribute to the artist and his enduring passion for the creative process. It finally casts new light on the life and character of Blakelock and on the nature of the incomparable art he contributed to the American tradition.
From the simple assertion that "words matter" in the study of visual art, this comprehensive but eminently readable volume gathers an extraordinary selection of words—painters and sculptors writing in their diaries, critics responding to a sensational exhibition, groups of artists issuing stylistic manifestos, and poets reflecting on particular works of art. Along with a broad array of canonical texts, Sarah Burns and John Davis have assembled an astonishing variety of unknown, little known, or undervalued documents to convey the story of American art through the many voices of its contemporary practitioners, consumers, and commentators. American Art to 1900 highlights such critically important themes as women artists, African American representation and expression, regional and itinerant artists, Native Americans and the frontier, popular culture and vernacular imagery, institutional history, and more. With its hundreds of explanatory headnotes providing essential context and guidance to readers, this book reveals the documentary riches of American art and its many intersecting histories in unprecedented breadth, depth, and detail.
Théodore Rousseau (1812–1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of “unruly nature,” a Romantic naturalism that confounded his contemporaries with its “bizarre” compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Édouard Kopp alternately examine Rousseau’s diverse techniques and working procedures as a painter and as a draftsman, as well as his art’s mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen’s essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek’s collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.