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Published in conjunction with the Brooklyn Museum of Art, this volume accompanies the first major retrospective of 19th-century American painter Eastman Johnson (1824-1906) in more than 25 years. 210 illustrations, 110 in color.
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.
This lovely book provides the first comprehensive examination of Eastman Johnson's vivid paintings of a quintessential New England theme - the making of maple sugar. This series of pictures, executed during the 1860s, is perhaps the most ambitious project in the artist's career. Brian Allen discusses the ways in which Johnson's maple sugar paintings reflect a New England on the edge of vast changes, both in the technology of farming and in the social structures of small communities. He notes how Johnson conveys the tense, shifting relationship that existed between industrial innovation and New England's distinctive brand of community spirit, evident through maple sugar's close association with free labour, as opposed to cane sugar's connection with slavery. Presented here in full colour, Johnson's maple sugar paintings are both a celebration of New England and a commentary on a bygone era. This book is the catalogue for an exhibition organized by the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (January 18 to April 18, 2004), and traveling to The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California (May 11 to August 1, 2004).
"Synopsis: Eastman Johnson was the most celebrated American genre painter of his era. Lionized during the 1860s and 1870s for his sensitive paintings of country life, his subjects were commonly haymakers and cornhuskers, cranberry pickers and maple sugar makers. Less well known is a series of paintings and drawings made early in his career of the native Ojibwe at Lake Superior. Painted in 1856 and 1857, Johnson's individual portraits and group scenes rank with the finest examples of Indians in art in the nineteenth century."--Www.abebooks.com/Eastman-Johnsons-Lake-Superior-Indians-Patricia/6230948332/bd.
Featuring paintings by American icons like Winslow Homer and Thomas Eakins, this book illustrates the ways American artists have viewed themselves, their peers, and their painted worlds over 200 years.
This book examines the portrayal of themes of boundary crossing, itinerancy, relocation, and displacement in US genre paintings during the second half of the long nineteenth century (c. 1860–1910). Through four diachronic case studies, the book reveals how the high-stakes politics of mobility and identity during this period informed the production and reception of works of art by Eastman Johnson (1824–1906), Enoch Wood Perry, Jr. (1831–1915), Thomas Hovenden (1840–95), and John Sloan (1871–1951). It also complicates art history’s canonical understandings of genre painting as a category that seeks to reinforce social hierarchies and emphasize more rooted connections to place by, instead, privileging portrayals of social flux and geographic instability. The book will be of interest to scholars working in art history, literature, American studies, and cultural geography.
Planter's Prospect: Privilege and Slavery in Plantation Paintings
Presented in conjunction with the September 2000 exhibition at the Metropolitan Museum, this volume presents the complex story of the proliferation of the arts in New York and the evolution of an increasingly discerning audience for those arts during the antebellum period. Thirteen essays by noted specialists bring new research and insights to bear on a broad range of subjects that offer both historical and cultural contexts and explore the city's development as a nexus for the marketing and display of art, as well as private collecting; landscape painting viewed against the background of tourism; new departures in sculpture, architecture, and printmaking; the birth of photography; New York as a fashion center; shopping for home decorations; changing styles in furniture; and the evolution of the ceramics, glass, and silver industries. The 300-plus works in the exhibition and comparative material are extensively illustrated in color and bandw. Oversize: 9.25x12.25". Annotation copyrighted by Book News Inc., Portland, OR
An in-depth look at one of the richest collections of American art, assembled by Electra Havemeyer Webb, renowned collector and founder of Shelburne Museum. Electra Havemeyer Webb assembled Shelburne Museum’s trove of American paintings in the late 1950s, creating a renowned and rich survey of American portraits, landscapes, marine paintings, sporting art, still lifes, and genre scenes from the eighteenth to the early twentieth centuries. During an era that preferred European modernism and abstraction, Webb’s visionary endeavor presented a new story of the United States: an attractive and industrious nation with its own valuable artistic traditions. This handsome book features the best of Shelburne’s American paintings, including works by colonial painters John Wollaston and John Singleton Copley, portraits by William Matthew Prior and Ammi Phillips, Hudson River School landcapes by Thomas Cole, Albert Bierstadt, and John Frederick Kensett, and scenes of American life by Eastman Johnson, Winslow Homer, Andrew Wyeth, and many more. The collection is also notable for its great depth in the works by Fitz Henry Lane, Martin Johnson Heade, Arthur Fitzwilliam Tait, Carl Rungius, Grandma Moses, and Ogden Pleissner.