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Of the hundreds of foreign students who attended the Munich Art Academy between 1910 and 1915, Walter Ufer (1876–1936) and E. Martin Hennings (1886–1956) returned to the United States to foster the development of a national art. They ultimately established their reputations in the American Southwest. The two German American artists shared much in common, and both would gain membership in the celebrated Taos Society of Artists. Featuring nearly 150 color plates and historical photographs, A Place in the Sun is a long-overdue tribute to the lives, achievements, and artistic legacy of these two important artists. In tracing the lifelong friendship and intersecting careers of Ufer and Hennings, the contributors to this volume explore the social and artistic implications of the artists’ German heritage and training. Following their training in Munich, both men hoped to build careers in the spirited art environment of Chicago. Both were sponsored by wealthy businessmen, many of German descent. The support of these patrons allowed Ufer and Hennings to travel to the American Southwest, where they—like so many other talented artists—fell under the spell of Taos and its picturesque scenery. They also encountered the region’s Native peoples and Hispanic culture that inspired many of their paintings. Despite their mutual interests, Ufer and Hennings were not identical by any means. Each artist had a distinct artistic style and, as the essays in this volume reveal, the two men could not have had more different personalities or career trajectories. Connoisseurs of southwestern art have long admired the masterworks of Ufer and Hennings. By offering a rich sampling of their paintings alongside informative essays by noted art historians, A Place in the Sun ensures that their significant contributions to American art will be long remembered. A Place in the Sun is published in cooperation with the Denver Art Museum.
This ultimate reference to Kentucky's first chartered city is "an absolute must for anyone interested in Kentucky, regional, or urban history" (James C. Klotter). Readers learn about the inspiration for the city's name (King Louie XVI of France), its former famous residents (John James Audubon and Muhammad Ali), facts about the Kentucky Derby, and much more. 306 photos. 79 maps.
The American Southwest has assumed the status of a cultural icon over the last few decades, and one of the writers who helped it to do so was Erna Fergusson, named by the Hopis Beautiful Swift Fox. An Anglo American whose travel writing featured the multi-ethnicity of her region, she popularized the culture and landscapes of her native New Mexico and its surrounding states in a range of writing that prefigured the genre-defying art that has come to be called the New Journalism.Much has been written about New Mexico's remarkable Fergusson family, especially brother Harvey and his novels. But Erna Fergusson's literary career has been largely overlooked. An iconoclast at the forefront of the Southwest Renaissance movement, Erna gained a wide reputation beginning in the 1930s for her "written versions of the Southwest," which embraced the complexities of regional culture and sympathetically and intelligently portrayed the Indian and Mexican influences.Distinguished Southwestern writer Robert Franklin Gish assesses Fergussons's literary contributions and unlocks the inner workings of the prose stylist who operated at the interstices of genres. With his postmodern reappraisal of the creative nonfiction forms she used, Gish prompts readers to reconsider how they view the art of nonfiction writing. Gish argues persuasively that Fergusson's identity as a native New Mexican and the region's singular landscape informed the attitudes and values present in her art. He explores the ways her entrepreneurial stint as a New Mexico tour guide during the 1920s and 1930s shaped the organizational strategies for her writing. He considers thoughtfully her various forms of writing and how she used travelogue, journalistic report, popular history, and persuasive essay to elevate the Southwest to prominence. Gish shows her writing as highly evocative, descriptive, and metaphorical, defying the conventions of the nonfiction forms she used and paving the way for America's school of New Journalism.Beautiful Swift Fox is not strictly biography; nor does it, in a traditional sense, seek to explicate a body of work. Rather, like its subject, it bridges genres, offering a meditation on one Southwestern writer's sense of place.
Artists and filmmakers in the early twentieth century reshaped our vision of the American West. In particular, the Taos Society of Artists and the California-based artist Maynard Dixon departed from the legendary depiction of the “Wild West” and fostered new images, or brands, for western art. This volume, illustrated with more than 150 images, examines select paintings and films to demonstrate how these artists both enhanced and contradicted earlier representations of the West. Prior to this period, American art tended to portray the West as a wild frontier with untamed lands and peoples. Renowned artists such as Henry Farny and Frederic Remington set their work in the past, invoking an environment immersed in conflict and violence. This trademark perspective began to change, however, when artists enamored with the Southwest stamped a new imprint on their paintings. The contributors to this volume illuminate the complex ways in which early-twentieth-century artists, as well as filmmakers, evoked a southwestern environment not just suspended in time but also permanent rather than transient. Yet, as the authors also reveal, these artists were not entirely immune to the siren call of the vanishing West, and their portrayal of peaceful yet “exotic” Native Americans was an expansion rather than a dismissal of earlier tropes. Both brands cast a romantic spell on the West, and both have been seared into public consciousness. Branding the American West is published in association with the Brigham Young University Museum of Art, Provo, Utah, and the Stark Museum of Art, Orange, Texas.