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    Station Eleven

    Emily St. John Mandel 9780385353304

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American Art to 1900: A Documentary History

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American Art to 1900: A Documentary History Cover

 

Synopses & Reviews

Publisher Comments:

“This book is a breathtaking accomplishment. The rich and comprehensive collection of writings gathered by the editors reflects the expansive definition of American art history in the twenty-first century. Texts by canonical artists and critics are here, giving access to the texture of the aesthetic discussions of their historical moments. So are reflections by writers on the margins of the mainstream art world, including slaves, women and commercial artists, showing that they were equally interested in art and its relationship to society.”—Elizabeth Hutchinson, author of The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915

“This eagerly anticipated compilation of historical subjects and sources will resonate for a diversity of scholars in the academy and the museum. Refreshingly inclusive, these judiciously selected documents prove the editors' assertion that words count by investing objects with layers of meaning and relevance. An indispensable volume for all interpreters of American art and culture.”—Sylvia Yount, Louise B. and J. Harwood Cochrane Curator of American Art, Virginia Museum of Fine Arts

“What a splendid compilation Sarah Burns and John Davis have given us. Documents of all sorts—culled from private diaries and popular periodicals, sermons and lectures, criticism and bureaucratic records—give voice to those involved in the world of American art from the 17th through the 19th century. The editors' selections are canny, as are their terse introductions. Students and scholars alike will find here material to prompt new insights on the complex interaction of art, its verbal context, and the writing of history.”—Marc Simpson, Associate Director, Williams College Graduate Program in the History of Art

"American Art to 1900: A Documentary History offers a very welcome addition to the primary source literature in United States art history. The broad chronological scope, which draws much-needed attention to the colonial and early national periods, and the range of artistic media covered makes this volume suitable for advanced scholarship as well as classroom use."—Wendy Bellion, University of Delaware

Synopsis:

From the simple assertion that "words matter" in the study of visual art, this comprehensive but eminently readable volume gathers an extraordinary selection of words—painters and sculptors writing in their diaries, critics responding to a sensational exhibition, groups of artists issuing stylistic manifestos, and poets reflecting on particular works of art. Along with a broad array of canonical texts, Sarah Burns and John Davis have assembled an astonishing variety of unknown, little known, or undervalued documents to convey the story of American art through the many voices of its contemporary practitioners, consumers, and commentators. American Art to 1900 highlights such critically important themes as women artists, African American representation and expression, regional and itinerant artists, Native Americans and the frontier, popular culture and vernacular imagery, institutional history, and more. With its hundreds of explanatory headnotes providing essential context and guidance to readers, this book reveals the documentary riches of American art and its many intersecting histories in unprecedented breadth, depth, and detail.

About the Author

Sarah Burns is Ruth N. Halls Professor of Fine Arts at Indiana University. She is the author of Painting the Dark Side: Art and the Gothic Imagination in Nineteenth-Century America (UC Press), Inventing the Modern Artist: Art and Culture in Gilded Age America, and Pastoral Inventions: Rural Life in Nineteenth-Century American Art and Culture. John Davis is Alice Pratt Brown Professor of Art at Smith College. He is the author of The Landscape of Belief: Encountering the Holy Land in Nineteenth-Century American Art and Culture.

Table of Contents

Introduction

1. THE COLONIAL ERA

Art in an age of puritanism

The Well-Dressed Puritan

Icons and the Metaphor of Painting

Cotton Mather on Art

Thomas Smiths Reflection on Death

Dissenting opinions: alternatives to puritan practice

Quaker “Rules” on Tombstones

John Valentine Haidts Theory of Painting

Art and the Spanish Conquest

Advertisements

Peter Pelham Scrapes a Mezzotint

Runaway “Limners”

John Durand

Work forWomen

Public Spectacle

Early responses to portraits

Pioneering artists

John Smibert Documents

BenjaminWest onWilliamWilliams

Taste and theory

Of the Knowledge of Painting

The Use and Advantages of the Fine Arts

Poems on portraits

Training and the lure of europe

John Singleton Copley: Ambition and Practicality

CharlesWillson Peale in London and Philadelphia

2. REVOLUTION AND EARLY REPUBLIC

Defining art

John Adams on the Arts

Public Art for the New Republic: Charles Willson Peales

Triumphal Arch

The Place of the Arts in American Society

An Early Scheme for a Museum of Sculpture

Sculptors for the Capitol

Wertmüllers Danaë and “Nudities”

“Native” Subjects vs. Continental Taste

A Plan for Government Patronage of History Painting

Citizens: documents on portrait painting

Bushrod Washington Commissions a Portrait

GeorgeWashington: The Image Industry

Ralph Earl and Reuben Moulthrop: Connecticut Itinerant Painters

Joshua Johnson Advertises

Gilbert Stuart: Eyewitness Accounts

President Monroe Discusses American Artists

Charles Willson Peales Advice to Rembrandt Peale

Chester Harding: Self-Made Artist

Artistic identity, artistic choices

Benjamin West: A NewWorld Genius Conquers the Old

Benjamin West, Patriarch of American Painting

John Trumbull Paints Revolutionary History

Washington Allstons Southern Roots

Washington Allston and the Miraculous Sublime

Washington Allston in Boston

Washington Allstons “Secret Technique”

Washington Allstons Idealism

John Vanderlyns Bid for Fame

John Vanderlyn Paints an American Epic

John Vanderlyns Panorama

Samuel Morses The House of Representatives

Rembrandt Peales The Court of Death

The establishment of artistic categories

Landscape

Charles Willson Peales Moving Pictures

Timothy Dwight Views Greenfield Hill

The American Gothic Landscapes of Charles Brockden Brown

The Earliest Guide to Sketching Landscape

Still Life: Raphaelle Peale

Genre: John Lewis Krimmel

Early institutions

Philadelphia

Charles Willson Peales Museum

The Columbianum

Quaker City Arts Organizations, c. 1810

New York: The American Academy of the Fine Arts

Boston: John Broweres Gallery

3. ANTEBELLUM AMERICA: VALUES AND INSTITUTIONS

Art in a democratic nation

The Importance of the Genres

Art in a Mercantile Culture

Charles Fraser Considers Art, Society, and the Future

William Dunlap Champions the Arts

Ralph Waldo Emersons Living Art

The Anti–”American School”

Joel HeadleyWaves the Flag of American Art

On Mechanics and the Useful Arts

Building institutions

The National Academy of Design

The Founding

The Early Years

Growing Polarization

The American Art-Union

Collectors and patrons

Thomas Cole and His Patrons

Thomas Cole Laments the Taste of the Times

William Sidney Mount Chooses a Subject

Instructions for Collectors

James Fenimore Cooper Commissions a Statue

Art and Private Property

4. ANTEBELLUM AMERICA: LANDSCAPE, LIFE, AND SPECTACLE

The american landscape

Literary Landscapes

James Fenimore Coopers Forest Primeval

Educating the Gaze: Benjamin Silliman on Monte Video

The Glory of an American Autumn

Romantic Nature

For the Birds: John James Audubon and American Nature

Thomas Cole and the American Landscape

The Poetry of Landscape: Thomas Cole in Verse

Thomas Cole and the Course of Empire

American Sites: Tourist Literature

Tourists in the Landscape

The Railroad in the Landscape

Transcendental Nature

Emersons Transcendent Natural World

Nature, Wild and Tame

Asher B. Durand Formulates the American Landscape

The Hudson River School in Public

Facing Nature: Jasper Cropsey and Sanford Gifford

The National Landscape in Repose: John Frederick Kensett

Fitz Henry Lane, Marine Painter Extraordinary

American life

Ralph Waldo Emerson on Native and National Art

William Sidney Mount and the Celebration of National Character

William Sidney Mounts Thoughts on Art, Life, and Travel Abroad

The Significance of Bumps on the Skull

Walt Whitman on American Painting

David Gilmour Blythe on Modern Times

Lilly Martin Spencer: Making It in New York

Artists of color and the representation of race

The Public Display of Slavery

William Sidney Mounts Ambivalence on Race

Frederick Douglass on African American Portraiture

The Verses of Dave the Potter

J.P. Balls Panorama of Slavery

An Imaginary Picture Gallery

Eastman Johnsons Negro Life at the South

Artists: advice and careers

Rufus Porters Recipe for Mural Painting

Thomas Seir Cummings on Miniature Painting

A Folk Artist Overcomes a Disability

Thomas Sullys Hints to Young Painters

5. ANTEBELLUM AMERICA: PUBLIC ART AND POPULAR ART

The U.S. government as patron: decoration of the capitol

Horatio Greenoughs George Washington

Lobbying for Capitol Commissions

The Liberty Cap as a Symbol of Slavery

Artists Weigh In on Art in the Capitol

Art in public

Hiram Powerss The Greek Slave

The Public Display of the Nude

George Templeton Strong Visits the National Academy

Too Many Portraits?

Henry James Remembers a New York Childhood

Popular art, edification, and entertainment

Responses to the Daguerreotype

Taste and Print Culture

Daniel Huntingtons Mercys Dream

Gift Books and Sentimental Culture

High and Low: Taste in Painting

Currier and Ives: Art Hand in Hand with Business

OliverWendell Holmes on Stereographs

The American Museum

6. ANTEBELLUM AMERICA: EXPANDING HORIZONS

International travel and exchange

Düsseldorf and the Düsseldorf Gallery

The Lure of Italy

Manifest destiny

Manufacturing history

American History, Pro and Con

The American Spirit of Emanuel Leutze

Emanuel Leutzes Clash of Civilizations

Washington Crosses the Delaware: Birth of an Icon

Art on and of the frontier

The Noble Savage/Vanishing Race

George Catlin Portrays the Native Americans

Prince Max and Karl Bodmer among the Mandan

American Indians as Spectacle

American Indians as Pictorial Material

Western Life

George Caleb Bingham:Western Life andWestern Politics

Critics on Bingham, East andWest

Life on the Mississippi in John Banvards Panorama

William Jewetts Letters from California

Frederic churchs sublime landscapes

Heart of the Andes

After Icebergs with a Painter

7. THE 1860s

Taking stock

The Photograph and the Face

A Sunny View of American Progress in Art

James Jackson Jarvess The Art-Idea

Henry T. Tuckermans Book of the Artists

Sculpture in Mid-century America

Landscape at a crossroads: nature seen through telescope and microscope

The American Pre-Raphaelites

Albert Bierstadts Great Picture

Variations on a Scene: John Frederick Kensett, Albert Bierstadt, and Thomas Hill

Too Many Landscapes

Civil war

The War and the Artist

A Southern View of the Arts duringWar

Photographs of Antietam

Sanitary Fairs

History Painting and theWar

Winslow Homers Prisoners from the Front

Race

Sojourner Truth Inspires a Sculptor

John Quincy AdamsWards Freedman

AnneWhitneys Africa

Postwar Painting and Race

Art after conflict

Memorializing theWar

The National Academy of Design: Praise and Condemnation

Settling In: Artists in Their Studios

The Conditions of Art in America

Dissatisfaction with Artists

What Does Art Teach Us?

Is Religious Art Still Relevant?

8. THE GILDED AGE: LIFE AND LANDSCAPE AT HOME

Nationalism and home subjects

Eugene Bensons French Gospel for Truly American Art

Home Subjects and Patriotic Painting

Eastman Johnsons Formula for Success

Art in the South

Modes of realism

Winslow Homer, All-American

Damnable Ugly: Henry James on Homer

Winslow Homers Working Methods

Winslow Homers Sea Change

Winslow Homers Savage Nature and Primal Scenes

Thomas Eakins in Europe

Thomas Eakinss The Gross Clinic

Mariana Griswold Van Rensselaer Meets Thomas Eakins

Eadweard Muybridges Serial Photographs

Race and representation

Robert Duncanson and “Passing”

Edward Bannister and George Bickles:

Discrimination and Acceptance

Winslow Homer: Painting Race

Henry Ossawa Tanner

Landscapes: east and west

The Old Northeast

Armchair Tourism and Picturesque America

Poetry in Paint: Art in Boston

George Inness and the Spiritual in Art

George Inness and the Landscape of the Mind

The New West

William Henry Jackson: Photographing theWest

Thomas Moran and theWestern Sublime

Frederic RemingtonsWildWest

Cultural Intersections: Native Art and theWhite Imperial Gaze

9. THE GILDED AGE: ART WORLDS AND ART MARKETS

Art on the market

French Art in New York

Buy American

Art as Commodity

Artists Broker TheirWork

American Artists: Starving or Selling Out

ArtWorld Diaries: Jervis McEntee and J. Carroll Beckwith

Studio life and art society

New Men andWomen in New York

Artists and Models

William Merritt Chases Super-Studio

Elizabeth Bisland Roving the Studios

The Tile Club: Play asWork

Artists in Their Summer Havens

Varnishing Day

10. THE GILDED AGE: EDUCATION, INSTITUTIONS, AND EXHIBITIONS

Education

A Cautionary Essay on Art Instruction

Boston

William Morris Hunts Talks on Art

The Massachusetts Drawing Act of 1870

Chicago

Sculpture at the Art Institute of Chicago

New York

Labor and Art on the Lower East Side

LemuelWilmarth on the Life Class

Breaking Away: The Art Students League

Philadelphia

The School of the Pennsylvania Academy of the Fine Arts

The Pennsylvania Museum and School of Industrial Art

San Francisco

A Deaf Artist in San Francisco

Art institutions

Young Turks: The Formation of the Society of American Artists

The Need for American Museums

George Inness on Art Organizations

The philadelphia centennial and the colonial revival

E. L. Henry Dreams of the Past

The Centennial Exhibition

The Colonial Revival Landscape

11. COSMOPOLITAN DIALOGUES

Internationalism

The Tariff Controversy

Internationalist Backlash

The Return from Europe

Friedrich Pecht: A German Critic on American Art

Americans Abroad

Art education

Germany

The Munich School

France

Will Low Remembers Barbizon

J. AldenWeirWrites Home about Jean-Léon Gérôme

Elizabeth Boott Studies with Thomas Couture

Kenyon Cox Struggles in Paris

May Alcott Nierikers Tips for Study in Paris

Student Life at the Ecole des Beaux-Arts

A Midwesterner in the City of Light

The nude

Kenyon Coxs Lonely Campaign for the Nude

Anthony Comstock vs. Knoedler and Co.

Augustus Saint-Gaudens Resigns

Arch-expatriates

James McNeillWhistler, Expatriate Extraordinaire

Art on Trial: James McNeillWhistler vs. John Ruskin

James McNeillWhistlers Platform

James McNeillWhistler and the Critics

John Singer Sargent, Man of theWorld

New women in art

Women Sculptors in the Eternal City

A Feminist Looks at Harriet Hosmer

Women Artists,Womans Sphere

Mary Cassatt, ModernWoman

Cecilia Beaux: Becoming the GreatestWoman Painter

ShouldWomen Artists Marry?

The ArtWorkers Club forWomen

Advice forWomen Photographers

12. NEW MEDIA, NEW TASTEMAKERS, NEW MASSES

Critical voices

Eugene Benson

Earl Shinn on Criticism

Mariana Griswold Van Rensselaer Assesses

the Progress of American Art

Sylvester Koehler Reflects on a Decade of American Art

William Howe Downes and Frank Torrey Robinsons

“Critical Conversations”

The little media

Watercolor

The American Taste forWatercolor

A Childs View of theWatercolor Show

Pastel

The Society of American Painters in Pastel

JamesWells Champney on Pastels

Etching

The “First” American Etching

Two Views on Etching

Women Etchers: Mary Nimmo Moran

Otto Bacher onWhistler in Venice

Wood Engraving

Popular art and its critique

The Nation vs. Prang and Co.

John Rogers, the Peoples Sculptor

The Trouble with Monuments

William Harnetts After the Hunt and The Old Violin

The Gap between Professionals and the Public

John George Brown, the Publics Favorite

In the magazines: the new illustrators

In Defense of Illustration

Howard Pyles Credo

Charles Dana Gibson, All-American Illustrator

Women in Illustration

amateur or artist? debates on photography

Amateurs

Pictorialism

13. BEAUTY, VISION, AND MODERNITY

The aesthetic movement

OscarWildes American Tour

Advice to Decorators

Poking Fun at Aestheticism

Aesthetic and IndustriousWomen

Japonisme

John La Farges Revolution in Stained Glass

Impressionism: critical reception

American Artists Confront Impressionism

French Impressionism Comes to America

Impressionism: american practices

The Americanization of Impressionism

William Merritt Chase, Seeing Machine

Childe Hassam on Painting Street Scenes

Impressionism: eclectic practices

Genealogies of Tonalism

Thomas Wilmer Dewing, Choice Spirit

Praise for John Twachtman

Refinement in Boston: Edmund Tarbell

The Sensuous Color of John La Farge

Art colonies

Summer Colonies

Vacationing with Art in Shinnecock Hills

Living the Life of Art in Cornish

Beyond the threshold: visionaries and dreamers

William Rimmer: Angels and Demons

Elihu Vedder, Mystical Joker

Albert Pinkham Ryder: The Myth of the Romantic Primitive

14. IMPERIAL AMERICA

The worlds columbian exposition

Experiencing the Fair

Popular Art at the Fair

Mural painting

Edwin Howland Blashfield Defines Mural Painting

Kenyon Cox Negotiates a Commission

Public sculpture

The Farragut Monument

The National Sculpture Society

Karl Bitter on Sculpture for the City

A Victory Monument over Fifth Avenue

Retrospectives and prospects

California vs. the East Coast

The Clarke Sale Cements the Value of American Art

American Art Poised for a New Century

Surveying the Century: Samuel Isham and Charles Caffin

Acknowledgments

List of Illustrations

Index

Product Details

ISBN:
9780520257566
Author:
Burns, Sarah (edt)
Publisher:
University of California Press
Editor:
Burns, Sarah
Editor:
Davis, John
Author:
Burns, Sarah
Author:
Davis, John
Subject:
Art, american
Subject:
Sources
Subject:
History : General
Subject:
United States - General
Subject:
Art, American -- Sources.
Subject:
American - General
Subject:
American
Subject:
Art-History and Criticism
Copyright:
Edition Description:
Trade paper
Publication Date:
20090331
Binding:
TRADE PAPER
Grade Level:
Professional and scholarly
Language:
English
Illustrations:
14 b/w scattered
Pages:
1104
Dimensions:
10 x 7 x 1.5 in 24 oz

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American Art to 1900: A Documentary History New Trade Paper
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Product details 1104 pages University of California Press - English 9780520257566 Reviews:
"Synopsis" by ,
From the simple assertion that "words matter" in the study of visual art, this comprehensive but eminently readable volume gathers an extraordinary selection of words—painters and sculptors writing in their diaries, critics responding to a sensational exhibition, groups of artists issuing stylistic manifestos, and poets reflecting on particular works of art. Along with a broad array of canonical texts, Sarah Burns and John Davis have assembled an astonishing variety of unknown, little known, or undervalued documents to convey the story of American art through the many voices of its contemporary practitioners, consumers, and commentators. American Art to 1900 highlights such critically important themes as women artists, African American representation and expression, regional and itinerant artists, Native Americans and the frontier, popular culture and vernacular imagery, institutional history, and more. With its hundreds of explanatory headnotes providing essential context and guidance to readers, this book reveals the documentary riches of American art and its many intersecting histories in unprecedented breadth, depth, and detail.
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