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In this fascinating work, Paul Nagel tells the full story of George Caleb Bingham (1811–1879), one of America’s greatest nineteenth-century painters. While Nagel assesses Bingham’s artistic achievements, he also portrays another very important part of the artist’s career—his service as a statesman and political leader in Missouri. Until now, Bingham’s public service has been largely forgotten, overshadowed by his triumph as a great artist. Yet Nagel finds there were times when Bingham yearned more to be a successful politician than to be a distinguished painter. Born in Virginia, Bingham moved with his family to Missouri when he was eight years old. He spent his youth in Arrow Rock, Missouri, and returned there as an adult. He also kept art studios in Columbia and St. Louis. In his last years, he served as the first professor of art at the University of Missouri in Columbia. Because of his ties to the state, he was known nationally as “the Missouri artist.” Bingham began his distinguished public service to Missouri as a member of the legislature. During the Civil War, he grew even more politically involved, holding the office of state treasurer, and he remained active throughout the period of Reconstruction. From 1875 to 1877, Bingham served as Missouri’s adjutant general, with most of that time spent in Washington, D. C., where he attempted to settle Missourians’ war claims against the federal government. Contrary to the idyllic scenes portrayed in most of his paintings, Bingham’s life ranged from moments of high achievement to times of intense distress and humiliation. His career was often touched by controversy, sorrow, and frustration. Personal letters and other manuscripts reveal Bingham’s life to be quite complicated, and Paul Nagel attempts to uncover the truth in this biography. Beautifully illustrated, this book includes a magnificent landscape entitled Horse Thief, which had been missing since Bingham painted it sometime around 1852. Recently discovered by art historian Fred R. Kline, this splendid work will appear in print for the first time. Anyone who has an interest in art, Missouri history, or politics will find this new book extremely valuable.
Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.
For nearly half a century, celebrated historian Ron Tyler has researched, interpreted, and exhibited western American art. This splendid volume, gleaned from Tyler’s extensive career of connoisseurship, brings together eight of the author’s most notable essays, reworked especially for this volume. Beautifully illustrated with more than 150 images, Western Art, Western History tells the stories of key artists, both famous and obscure, whose provocative pictures document the people and places of the nineteenth-century American West. The artists depicted in these pages represent a variety of personalities and artistic styles. According to Tyler, each of them responded in unique ways to the compelling and exotic drama that unfolded in the West during the nineteenth century—an age of exploration, surveying, pleasure travel, and scientific discovery. In eloquent and engaging prose, Tyler unveils a fascinating cast of characters, including the little-known German-Russian artist Louis Choris, who served as a draftsman on the second Russian circumnavigation of the globe; the exacting and precise Swiss artist Karl Bodmer, who accompanied Prince Maximilian of Wied on his sojourn up the Missouri River; and the young American Alfred Jacob Miller, whose seemingly frivolous and romantic depictions of western mountain men and American Indians remained largely unknown until the mid-twentieth century. Other artists showcased in this volume are John James Audubon, George Caleb Bingham, Alfred E. Mathews, and, finally, Frederic Remington, who famously sought to capture the last glimmers of the “old frontier.” A common thread throughout Western Art, Western History is the important role that technology—especially the development of lithography—played in the dissemination of images. As the author emphasizes, many works by western artists are valuable not only as illustrations but as scientific documents, imbued with cultural meaning. By placing works of western art within these broader contexts, Tyler enhances our understanding of their history and significance.
In 850 analytical articles, this two-volume set explores the developments that influenced the profound changes in thought and sensibility during the second half of the eighteenth century and the first half of the nineteenth century. The Encyclopedia provides readers with a clear, detailed, and accurate reference source on the literature, thought, music, and art of the period, demonstrating the rich interplay of international influences and cross-currents at work; and to explore the many issues raised by the very concepts of Romantic and Romanticism.
In this distinguished work, which Hilton Kramer in The New York Times Book Review called "surely the best book ever written on the subject," Barbara Novak illuminates what is essentially American about American art. She highlights not only those aspects that appear indigenously in our art works, but also those features that consistently reappear over time. Novak examines the paintings of Washington Allston, Thomas Cole, Asher B. Durand, Fitz H. Lane, William Sidney Mount, Winslow Homer, Thomas Eakins, and Albert Pinkham Ryder. She draws provocative and original conclusions about the role in American art of spiritualism and mathematics, conceptualism and the object, and Transcendentalism and the fact. She analyzes not only the paintings but nineteenth-century aesthetics as well, achieving a unique synthesis of art and literature. Now available with a new preface and an updated bibliography, this lavishly illustrated volume--featuring more than one hundred black-and-white illustrations and sixteen full-color plates--remains one of the seminal works in American art history.
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.
Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.
Chiefly illustrated catalog of an exhibition held in celebration of the hundredth anniversary of the Metropolitan Museum of Art, held at the Metropolitan Museum of Art from April 16 through September 7, 1970.
They also consider the artists' responses to foreign prototypes, travel and training, changing exhibition venues, and audience expectations. The persistence of certain themes--childhood, marriage, the family, and the community; the attainment and reinforcement of citizenship; attitudes toward race; the frontier as reality and myth; and the process and meaning of making art--underscores evolving styles and standards of storytelling. Divided into four chronological sections, the book begins with the years surrounding the American Revolution and the birth of the new republic, when painters such as Copley, Peale, and Samuel F. B. Morse incorporated stories within the expressive bounds of portraiture. During the Jacksonian and pre-Civil War decades from about 1830 to 1860, Mount, Bingham, Lilly Martin Spencer, and others painted genre scenes featuring lighthearted narratives that growing audiences for art could easily read and understand.