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The first comprehensive treatment in seventy years of the American Art-Union’s remarkable rise and fall For over a decade, the New York–based American Art-Union shaped art creation, display, and patronage nationwide. Boasting as many as 19,000 members from almost every state, its meteoric rise and its sudden and spectacular collapse still raise a crucial question: Why did such a successful and influential institution fail? The American Art-Union reveals a sprawling and fascinating account of the country’s first nationwide artistic phenomenon, creating a shared experience of visual culture, art news and criticism, and a direct experience with original works. For an annual fee of five dollars, members of the American Art-Union received an engraving after a painting by a notable US artist and the annual publication Transactions (1839–49) and later the monthly Bulletin (1848–53). Most importantly, members’ names were entered in a drawing for hundreds of original paintings and sculptures by most of the era’s best-known artists. Those artworks were displayed in its immensely popular Free Gallery. Unfortunately, the experiment was short-lived. Opposition grew, and a cascade of events led to an 1852 court case that proved to be the Art-Union’s downfall. Illuminating the workings of the American art market, this study fills a gaping lacuna in the history of nineteenth-century US art. Kimberly A. Orcutt draws from the American Art-Union’s records as well as in-depth contextual research to track the organization’s decisive impact that set the direction of the country’s paintings, sculpture, and engravings for well over a decade. Forged in cultural crosscurrents of utopianism and skepticism, the American Art-Union’s demise can be traced to its nature as an attempt to create and control the complex system that the early nineteenth-century art world represented. This study breaks the organization’s activities into their major components to offer a structural rather than chronological narrative that follows mounting tensions to their inevitable end. The institution was undone not by dramatic outward events or the character of its leadership but by the character of its utopianist plan.
The impulse in much nineteenth-century American painting and culture was to describe nature as a wilderness on which the young nation might freely inscribe its future: the United States as a virgin land, that is, unploughed, unfenced, and unpainted. Insofar as it exhibited evidence of a past, its traces pointed to a geologic or cosmic past, not a human one. The work of the New England artist Fitz H. Lane, however, was decidedly different. In this important study, Margaretta Markle Lovell singles out the more modestly scaled, explicitly inhabited landscapes of Fitz H. Lane and investigates the patrons who supported his career, with an eye to understanding how New Englanders thought about their land, their economy, their history, and their links with widely disparate global communities. Lane’s works depict nature as productive and allied in partnership with humans to create a sustainable, balanced political economy. What emerges from this close look at Lane’s New England is a picture not of a “virgin wilderness” but of a land deeply resonant with its former uses—and a human history that incorporates, rather than excludes, Native Americans as shapers of land and as agents in that history. Calling attention to unexplored dimensions of nineteenth-century painting, Painting the Inhabited Landscape is a major intervention in the scholarship on American art of the period, examining how that body of work commented on American culture and informs our understanding of canon formation.
Showcasing one of the nation's finest collections of American art, this remarkable two-volume set features 267 exceptional paintings reproduced in full color and illuminated with never-before-published research findings. Works span American history from the colonial period through the close of World War II and are by many of the nation's best-known artists, including Mary Cassatt, Thomas Cole, Childe Hassam, Winslow Homer, Edward Hopper, and Georgia O'Keeffe. Pre-1900 subject strengths reside in portraiture with canvases by John Singleton Copley, John Singer Sargent, and Henry Ossawa Tanner; still lifes by John Peto and Severin Roesin; and landscapes from the brushes of Frederic Edwin Church, Martin Johnson Heade, Fitz Henry Lane, Thomas Moran, and others. Scenes and portraits by artists including John Steuart Curry, Robert Henri, Peter Hurd, Maurice Prendergast, and John Sloan provide honest, enduring assessments of early 20th-century American life. A stunning sample of early Modernism is seen in important canvasses by Albert Bloch, Stuart Davis, Arthur Dove, and Marsen Hartley, to name a few. Volume 1 includes 140 extended essays on the most important canvases in the collection, which are represented in full-page color reproductions. Volume 2 reproduces in color all the works in the collection and is accompanied by thorough technical notes based on recent object examination, complete provenance, listings of directly related works, and exhaustive exhibition and publication histories. American Paintings is an outstanding resource and a beautifully illustrated record of our country's history and culture.
Graduate Programs in Art History is an indispensable, comprehensive guide to schools that offer a Master's, doctoral, or related degree in art studies, including history of art and architecture, visual studies, museum and curatorial studies, arts administration, and library science. Compiled by the College Art Association, this easy-to-use directory includes over 260 schools and English-language academic programs in the United States, Canada, Great Britain, and elsewhere worldwide. Listings provide descriptions of special courses; numbers, names, and specializations of faculty; facilities such as libraries and labs; student opportunities for research and work; information on financial aid, fellowships, and assistantships; application requirements; and details on housing, health insurance, and other practical matters. An index lists schools alphabetically and by state and country for quick reference. An introductory essay provides a detailed description of the elements of a program entry, including explanations of the various kinds of programs and degrees offered, placing the search and selection process in context. This is the third edition of this directory published by CAA.