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Luminist Horizons celebrates the art and collection of James A. Suydam (1819-1865), an American landscapist best known for his luminist paintings. Despite the fact that his name has been linked with luminism since the term was first coined, Suydam has not received the scholarly attention he deserves. With approximately 180 reproductions (eighty in color), this book considers Suydam's work in tandem with that of fellow Hudson River School artists such as Asher B. Durand, Frederic E. Church, and John F. Kensett and therefore contributes an important chapter to the history of American landscape painting. Significantly, Suydam's enduring legacy extends beyond his own creative output; his passionate commitment to art motivated his encouragement of emerging artists and his purchase of their paintings. When Suydam died he bequeathed ninety-two contemporary American and European paintings to the Academy, a gift that formed the nucleus of the Academy's permanent collection. Luminist Horizons accompanies an exhibition that opens at the National Academy Museum in New York in September 2006 before traveling to the Taft Museum of Art (Cincinnati, Ohio) and the Telfair Museum of Art (Savannah, Georgia). 80 color illustrations, 100 in black and white.
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To provide an alternative forum to ... nihilistic influences ... and ... meaningless public art projects.
This alphabetically arranged volume covers all the major artistic developments in the USA from the Colonial period until 1914, with the start of World War I.
This work describes the concepts of Symbolist art used for this study and presents a sequence of the works and writings of five artists - Washington Allston at the beginning of the century, John La Farge and William Rimmer at mid-century, and George Inness and Albert Pinkham Ryder at the end. These five were selected after a lengthy survey of 19th and early 20th century American art. Although a broader selection might have been made, these particular artists successfully developed, at one point or another in their careers and with more or less clearly defined objectives, highly articulate visual art in the Symbolist mode, as well as writings about their Symbolist intentions (without using the term itself). In many instances, their words, as well as their art, recall those of artists like Paul Gauguin and Vincent Van Gogh, although predating the Europeans by several decades. The Symbolist works of these five Americans are analyzed along side their writings about art, as well as writings by the few major critics who understood their aesthetic intentions at the time, such as James Jackson Jarves, Charles de Kay, and Roger Fry. Not a survey, but rather a highly selective and suggestive