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This volume, the catalog of the fiftieth-anniversary exhibition at the Whitney, charts the main currents of twentieth-century American figurative art. More than 200 illustration, 32 in color, are included.
Commemorating the 100th anniversary of the National Sculpture Society, this important history traces America's rich heritage of figurative sculpture from the Columbian exposition of 1893 to the present. Illustrated with outstanding examples of American figurative sculpture of the last century, this volume begins with an analysis of the influence of the Beaux-Arts tradition on the creation of the great public monuments of the young republic. With this background, the book moves on to survey important categories of sculpture chronologically. Equestrian monuments and countless tributes to war heroes are surveyed in one category. In another important grouping, author David Martin Reynolds surveys portrait sculpture. He also includes a section on medallic art, a category usually neglected in sculpture surveys. In another innovation, Dr. Reynolds devotes a chapter to American Indians, both as widely favored subjects for sculpture and as sculptors themselves. Not neglecting genre, the author deals extensively with the large group of sculptors who concentrated on animals. Finally he surveys the figurative tradition in the twentieth century and speculates on future trends in sculpture. Donald Martin Reynolds teaches at the School of Architecture, Columbia University, in New York City and is the author of many articles and books on sculpture, including Monuments and Masterpieces, which was favorably reviewed in the New York Times Book Reviews. 210 illustrations
Showcasing the work of an exciting group of contemporary artists, this book reflects the trends shaping art in the United States today.
In the years between the world wars, Manhattan's Fourteenth Street-Union Square district became a center for commercial, cultural, and political activities, and hence a sensitive barometer of the dramatic social changes of the period. It was here that four urban realist painters--Kenneth Hayes Miller, Reginald Marsh, Raphael Soyer, and Isabel Bishop--placed their images of modern "new women." Bargain stores, cheap movie theaters, pinball arcades, and radical political organizations were the backdrop for the women shoppers, office and store workers, and consumers of mass culture portrayed by these artists. Ellen Wiley Todd deftly interprets the painters' complex images as they were refracted through the gender ideology of the period. This is a work of skillful interdisciplinary scholarship, combining recent insights from feminist art history, gender studies, and social and cultural theory. Drawing on a range of visual and verbal representations as well as biographical and critical texts, Todd balances the historical context surrounding the painters with nuanced analyses of how each artist's image of womanhood contributed to the continual redefining of the "new woman's" relationships to men, family, work, feminism, and sexuality.