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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.
Examines the portrayal of race in interwar American art. Focuses on the works of urban realist Reginald Marsh and his contemporaries to show how black figures acted as cultural and visual markers and embodied complex concerns about the presence of African Americans in urban centers.
This volume features artists who brought a new sophistication and elegancento American art in the three decades before World War I. Wealthyndustrialists eager to acquire culture began to patronize native artists whoad achieved international recognition. John Singer Sargent, Irving Wiles andecilia Beaux created portraits of these new patrons, while John La Farge andugustus Saint-Gaudens made luxurious adornments for their homes. One groupf painters - including Louis Comfort Tiffany, Frederick Arthur Bridgman,enry Ossawa Tanner and Charles Sprague Pearce - responded especially to theascnation with exotic Middle Eastern, Egyptian or "Oriental" cultures thatharacterized this age of international imperialism. The educated and refinedspects of Gilded Age culture are expressed here in Renaissance-inspiredaintings by Abbott Thayer and Mary Cassatt. Romantic literary works byisionary Albert Pinkham Ryder symbolize the idealized strivings of thiseneration, while the rugged masculine landscapes of Winslow Homer emblemizehe struggle and conflict that marked this period of contending social and
This exhibition sets the art of Edward Hopper in the context of the diverse and controversial movements dominating American art during the first half of the twentieth century.
American genre painting flourished in the thirty years before the Civil War, a period of rapid social change that followed the election of President Andrew Jackson. It has long been assumed that these paintings--of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk--served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this enlightening book Elizabeth Johns presents a different interpretation--arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time. Analyzing works by William Sidney Mount, George Caleb Bingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humor and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newspapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers. Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices--and not a blissful celebration of American democracy--that informed the look and the richly ambiguous content of genre painting.
-World War I and American Art provides an unprecedented look at the ways in which American artists reacted to the war. Artists took a leading role in chronicling the war, crafting images that influenced public opinion, supported mobilization efforts, and helped to shape how the war's appalling human toll was memorialized. The book brings together paintings, drawings, prints, photographs, posters, and ephemera, spanning the diverse visual culture of the period to tell the story of a crucial turning point in the history of American art---
Describes the transformation in American art as a vast group of American artists settled in Paris to study with the great French painters, and continued through the twentieth century as French artists began to leave Paris for New York.
Celebrates the 75th anniversary of the U.S. Public Works of Art Program, created in 1934 against the backdrop of the Great Depression. The 55 paintings in this volume are a lasting visual record of America at a specific moment in time; a response to an economic situation that is all too familiar