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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.
What Argenteuil in the 1870s was to French Impressionists, Cos Cob between 1890 and 1920 was to American Impressionists Childe Hassam, Theodore Robinson, John Twachtman, J. Alden Weir, and their followers. These artists and writers came together to work in the modest Cos Cob section of Greenwich, Connecticut, testing new styles and new themes in the stimulating company of colleagues. This beautiful book is the first to examine the art colony at Cos Cob and the role it played in the development of American Impressionist art. During the art-colony period, says Susan Larkin, Greenwich was changing from a farming and fishing community to a prosperous suburb of New York. The artists who gathered in Cos Cob produced work that reflects the resulting tensions between tradition and modernity, nature and technology, and country and city. The artists' preferred subjects -- colonial architecture, quiet landscapes, contemplative women -- held a complex significance for them, which Larkin explores. Drawing on maritime history, garden design, women's studies, and more, she places the art colony in its cultural and historical context and reveals unexpected depth in paintings of enormous popular appeal.
A landmark survey of Sol LeWitt's printmaking practice
"How paintings were made--in the most literal sense--is an important but largely unknown aspect of the story of American art. This book, like the authors' previous volume on American painting techniques from the colonial period to 1860, is based on descriptions of the materials and methods that painters used, as found in artists' notebooks, painting manuals, magazines, suppliers' catalogues, letters, diaries, books, and interviews. In interpreting this evidence, the authors have made use of their experience as conservators who have treated many important American paintings."--Book jacket.
The first study of the artistry of a noted African-American painter
A vibrant and original perspective on the American Revolution through the stories of the five great artists whose paintings animated the new American republic. The images accompanying the founding of the United States--of honored Founders, dramatic battle scenes, and seminal moments--gave visual shape to Revolutionary events and symbolized an entirely new concept of leadership and government. Since then they have endured as indispensable icons, serving as historical documents and timeless reminders of the nation's unprecedented beginnings. As Paul Staiti reveals in Of Arms and Artists, the lives of the five great American artists of the Revolutionary period--Charles Willson Peale, John Singleton Copley, John Trumbull, Benjamin West, and Gilbert Stuart--were every bit as eventful as those of the Founders with whom they continually interacted, and their works contributed mightily to America's founding spirit. Living in a time of breathtaking change, each in his own way came to grips with the history they were living through by turning to brushes and canvases, the results often eliciting awe and praise, and sometimes scorn. Their imagery has connected Americans to 1776, allowing us to interpret and reinterpret the nation's beginning generation after generation. The collective stories of these five artists open a fresh window on the Revolutionary era, making more human the figures we have long honored as our Founders, and deepening our understanding of the whirlwind out of which the United States emerged.
This portrait of Calder, at work and at play, offers new insight into how his art was shaped by the state's landscape, his home and studio, his family, and the circle of artists, writers, curators, and collectors who befriended him."--BOOK JACKET.
As revealed in the subtitle, this book is comprised of three parts. Part I, the Present, shows the diverse beauty of Lake Waramaug in the four seasons as seen in thirty-five paintings of the same scene, executed under different conditions over two years. All but two of the works (both are nocturnes) were painted on location and many were executed in the artist's Portable Sketching Capsule during frigid or inclement weather. Each painting tells its own story and is accompanied by selected observations made in the artist's log book during the painting process. Part II, the Past, is a fascinating long-view of the Lake's history. It is humbling to see the present in the larger perspective of the past that (a) goes back to the Lake's probable beginning eons ago when continents collided and then (b) fast forwards through the Ice Ages that sculpted the Lake, the Five Mass Extinctions which killed off over 75% of all species living on Earth at that those times and, finally, (c) relates the retreat of the current Ice Sheet from Connecticut, the return of flora and fauna and the arrival of humans - first the Native Americans and then European settlers. Although Lake Waramaug is the special place we have come to know and love, the threat of the Sixth Mass Extinction looms. Finally, Part III, the Future, reviews the noble efforts and successes in recent decades by farsighted leading individuals and organizations to preserve and protect the Lake and this part of the country so future generations of all life forms will survive and continue to enjoy them.