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Art of the United States, 1750-2000 : primary sources / John Davis, Michael Leja ; edited by Francesca Rose ; with contributions by Lacey Baradel.
LIBRA N6505 .A76 2020
Available from offsite location
- Format:
- Book
- Language:
- English
- Subjects (All):
- Art, American--Sources.
- Art, American.
- Art, American--Pictorial works.
- Art--United States--History.
- Art.
- United States.
- Genre:
- Pictorial works
- History
- Physical Description:
- 543 pages : illustrations (some color), maps ; 23 cm
- Place of Publication:
- Chicago, Illinois : Terra Foundation for American Art, [2020]
- Summary:
- This volume presents three centuries of US art through a broad array of historical texts, including writings by artists, critics, patrons, literary figures, and other commentators. Combining a wide-ranging selection of texts with high-quality reproductions of artworks, it offers a unique resource for the study and understanding of the visual arts of the United States. With contextual essays, explanatory headnotes, a chronology of historical landmarks, maps, and full-color illustrations of key artworks, the volume will appeal to national and international audiences ranging from undergraduates and museum visitors to art historians and other scholars. Texts by a range of artists and cultural figures-from Benjamin West to Kara Walker-are grouped according to historical era alongside works by many of the artists featured. This sourcebook brings together multiple voices throughout the ages to provide a framework for learning and critical thinking on US art. --From publisher description.
- Contents:
- Chapter one. Building patronage and institutions, 1750-1830. Benjamin West: a new world genius conquers the old
- John Singleton Copley: ambition and practicality
- John Adams on the arts
- Charles Wilson Peale's museum
- John Trumbull paints Revolutionary history
- A plan for governing patronage of history painting
- The National Academy of Design: the founding
- William Dunlap champions the arts
- Thomas Cole and a patron
- For the birds: John James Audubon and American nature
- Chapter two. Landscape, democracy, race, 1830-1850. Horatio Greenough's George Washington
- Thomas Cole and the American landscape
- Responses to daguerreotype
- George Catlin portrays the Native Americas
- The Public display of slavery
- Frederick Douglass on African American portraiture
- Washington Allston in Boston
- Hiram Power's The Greek Slave
- The American Art-Union
- Düsseldorf and the Düsseldoerf Gallery
- Chapter three. The Civil War and its aftermath, 1850-1870. Lily Martin Spencer: making it in New York
- Asher B. Durand formulates the American landscape
- The lure of Italy
- Harriet Hosmer in the Eternal City
- Frederic Church's Heart of the Andes
- Eastman Johnson's Negro Life at the South
- The photograph and the face
- Photographs of Antietam
- John Quincey Adams Ward's Freedman
- Albert Bierstadt's great picture
- The Nation versus Prang & Co.
- Sculpture in midcentry America
- Chapter four. The Gilded Age, 1870-1885. Thomas Moran and the Western Sublime
- J. Alden Weir writes home about Jean-Léon Gérôme
- Henry James reviews some American painters
- Thomas Eakins in Spain
- Thomas Eakins's The Gross Clinic
- Eakins and the School of the Pennsylvania Academy of the Fine Arts
- Young Turks: the formation of the Society of American Artists
- The Munich School
- Otto Bacher on Whistler in Venice
- Mariana Griswold van Rensselaer assesses the progress of American art
- Winslow Homer's sea change
- Friedrich Pecht: a German critic on American art
- Sylvester Koehler reflects on a decade of American art
- Chapter five. A new internationalism, 1885-1900. William Harnett's The Old Violin
- Kenyon Cox's lonely campaign for the nude
- James McNeill Whistler's platform
- William Merritt Chase, seeing machine
- Albert Pinkham Ryder: the myth of the Romantic Primitive
- Childe Hassam on painting street scenes
- Marry Cassatt, modern woman
- Experiencing the World's Columbian Exposition
- Should women artists marry?
- Cecilia Beaux: becoming the greatest woman painter
- Booker T. Washington on Henry Ossawa Tanner
- Alfred Stieglitz on Pictoralism
- Chapter six. Progressivism and modernism, 1900-1918. John Sloan on the life of an artist in New York
- Lewis Hine: social justice through photography
- The Making of a photograph by Alfred Stieglitz
- Robert Henri advocates individuality and freedom in art education
- Alfred Stieglitz and John Marin introducing Modernism at the Armory Show
- Kenyon Cox: the case against Modernism
- Theodore Roosevelt offers a layman's view of Modern Art
- Explanatory notes from the Modernists
- Marcel Duchamp surveys New York
- Duchamp, with the help of Louise Norton and Beatrice Wood, defends his infamous Readymade
- Chapter seven. Prosperity and Depression, 1918-1939. Georgia O'Keeffe paints as she wants to
- Joseph Stella on the divine and the demonic in the modern city
- Edward Hopper finds kindred spirits in John Sloan and Charles Burchfield
- George Schuyler and Langston Hughes propose different paths for African American culture
- Romare Bearden and Aaron Douglas: the situation of African American artists
- Putting artists to work during the Depression
- Dorothea Lange on documentary photography
- Thomas Hart Benton and the US scene
- Swinging abstraction: Stuart Davis
- A voice of radical cultural politics in the 1930s
- Meyer Schapiro's critical analysis of Modern Art
- Norman Bel Geddes streamlines design
- Life Magazine and the demand for pictures
- Chapter eight. War and Cold War, anxiety and affluence, 1939-1960. Norman Rockwell brings the four freedoms to life
- Jackson Pollock remakes Abstraction
- Mark Rothko: agitation and calm
- Barnett Newman declares space
- Clement Greenberg identifies an American Avant-Garde
- Harold Rosenberg defines Action Painting
- Confrontation pieces by Louise Bourgeois
- Berenice Abbott: documentary photography in a world of pictures
- Oscar Howe on creative freedom and Native American traditions
- Walker Evans & Robert Frank on Frank's Americans
- Robert Rauschenberg's disparate visual facts
- John Cage on Robert Rauschenberg's Combines
- Jasper Johns seeing and knowing
- US painting and the Cold War
- Chapter nine. Political polarization, counterculture and reaction, 1960-1980. Allan Kaprow and happenings
- Claes Oldenburg: an art of bending, kicking, and breaking
- Roy Lichtenstein: capitalism, industrialism, and Pop Art
- Andy Warhol on Pop Art and homosexuality
- Carolee Schneemann and Aphroditean performance
- Frank Stella and Donald Judd: unbroken wholeness
- Robert Morris: physical evidence of the visual field
- Michael Fried's objections to Minimalism
- A manifesto for Conceptual Art: Sol LeWitt's paragraphs
- Artists organize to demand rights and reforms
- Emory Douglas, The Black Panther Party, and Revolutionary art
- AfriCOBRA pursues the cultural liberation of Black America
- Robert Smithson reshapes land
- Judy Chicago's feminist imagery
- The Art of Light and Space in Los Angeles
- Adrian Piper's philosophical and engaged Conceptual Art
- Analyzing pictures culture through art
- Chapter ten. Culture wars and postmodernism, 1980-2000. Martha Rosler: social documentary photography versus appropriation
- Cindy Sherman, pictures and identities
- Maya Lin's memorials
- Hans Haacke and the critique of arts institutions
- Jean-Michel Basquiat's raw and subtle graffiti
- David Hammons: defiant Street Art
- Robert Mapplethorpe's embattled photographs
- Inciting action through art to end the AIDS epidemic
- Coco Fusco performing Otherness
- Fred Wilson exhibits suppressed histories
- Kara Walker: surreal, silhouetted panoramas of slavery
- Chronology 1500-2000.
- Notes:
- Includes bibliographical references and index.
- ISBN:
- 9780932171207
- 0932171206
- 9780932171689
- 0932171680
- OCLC:
- 1110439413
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