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David M. Lubin,Charlotte C Weber Professor of Art David M Lubin,Professor David M Lubin
Author : David M. Lubin,Charlotte C Weber Professor of Art David M Lubin,Professor David M Lubin Publisher : Yale University Press Page : 400 pages File Size : 44,7 Mb Release : 1994-01-01 Category : Art ISBN : 0300057326
Picturing a Nation by David M. Lubin,Charlotte C Weber Professor of Art David M Lubin,Professor David M Lubin Pdf
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.
Picturing a Nation: The Great Depression’s Finest Photographers Introduce America to Itself by Martin W. Sandler Pdf
A National Book Award winner mines photographic gold to show—and tell—the story of the Great Depression. In an exquisitely curated volume of 140 full-color and black-and-white photographs, Martin W. Sandler unpacks the United States Farm Security Administration’s sweeping visual record of the Great Depression. In 1935, with the nation bent under unprecedented unemployment and economic hardship, the FSA sent ten photographers, including Walker Evans, Dorothea Lange, and Gordon Parks, on the road trip of a lifetime. The images they logged revealed the daily lives of Southern sharecroppers, Dust Bowl farmers in the Midwest, Western migrant workers, and families scraping by in Northeast cities. Using their cameras as weapons against poverty and racism—and in service of hope, courage, and human dignity—these talented photographers created not only a collective work of art, but a national treasure. Grouped into four geographical regions and locked in focus by rich historical commentary, these images—many now iconic—are history at its most powerful and immediate. Extensive back matter includes photographer profiles and a bibliography.
Picturing the Nation presents a visual history of modern India and explores visual representations of India from the late nineteenth to the late twentieth centuries. The essays in this volume have illustrations, which have all been reproduced in full colour on art paper. The illustrated pages have also been placed within the chapters that refer to them. The images include chromolithographs, posters, cards and photographs of architecture and cultural displays. The book has a comprehensive introduction by Richard Davis and it attempts to answer the question how is it that so many persons have been persuaded to die willingly for something as recently imagined as the nation? Market: University and college departments of history, sociology, social anthropology, the visual arts, art history. The book is also accessible to a wider audience interested in the visual media and in the history of modern India. This is the second book out in the Indian market in this area and the earlier one is Beyond Appearances? edited by Sumathi Ramaswamy (Sage 2003), which is a single colour book.
The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863-1930) was also the most widely viewed British-Australian artist of the Heidelberg era. Fullwood's illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler-colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today? In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art. 'Gary Werskey's compelling and vivid biography of A.H. Fullwood -- a decade-long labour of love, written with a sharp, empathetic eye - rescues one of Australia's most accomplished artists from oblivion. It also stands as a highly original and deeply researched history of Australian culture in the late nineteenth and early twentieth centuries.' -- Mark McKenna 'Through extensive, patient research, a discerning eye and lyrical prose, Gary Werskey recovers the life of brilliant artist A.H. Fullwood and guides us on a fresh journey into the fabled world of Australian art and artists in the crucible decades of the 1880s and 1890s. Here is a fascinating creation story about the visual language of a nation enchanted by its own dreams.' -- Grace Karskens 'Gary Werskey's essential and rousing portrait lifts Fullwood to his rightful place in the pantheon of Australian art, and reminds us how much the nation owes a generation of inspired bohemians for uncovering and defining its character and identity. It's a great read, and looks beautiful.' -- Don Watson 'Werskey has used the engaging life and work of A.H. Fullwood to re-cast the history of Australia's settler-colonial art. Set against the era's revolution in how art was produced and reproduced, Fullwood's pictures reveal him to be a master of half-toned illustrations, underpinned by the high-keyed palette of his creativity. A double vision splendid!' -- Humphrey McQueen 'An outstanding account of one of Australia's most fascinating Bohemian artists. Werskey not only reveals the very heart of Fullwood's art, but uncovers an Australian Georgic in which a prosperous agriculture emerges on small farms, and the life of the pub and the office and the quiet corners of the everyday in settler Australia are brilliantly evoked.' -- Jeanette Hoorn
Henri Peyre (1901-1988), a giant figure in French studies, did more to introduce Americans to the modern literature and culture of French than any other person. Sterling Professor and chair of the French Department of Yale University for more than four decades, Peyre was also the author of forty-four books, a brilliant speaker, and a mentor to two generations of students. He left enormous legacies as both teacher and scholar. Peyre also left a large and fascinating body of correspondence. This collection of his letters documents the era in which he lived. His lively letters also bear witness to the vast network of his friends and colleagues, including such major post-war literary figures as Robert Penn Warren, Andre Gide, and Andre Malraux.
Author : Megan Swift Publisher : University of Toronto Press Page : 246 pages File Size : 51,5 Mb Release : 2020-05-12 Category : History ISBN : 9781442667426
Based on sources from rare book libraries in Russia and around the world, Picturing the Page offers a vivid exploration of illustrated children’s literature and reading under Lenin and Stalin – a period when mass publishing for children and universal public education became available for the first time in Russia. By analysing the illustrations in fairy tales, classic "adult" literature reformatted for children, and war-time picture books, Megan Swift elucidates the vital and multifaceted function of illustrated children’s literature in repurposing the past. Picturing the Page demonstrates that while the texts of the past remained fixed, illustrations could slip between the pages to mediate and annotate that past, as well as connect with anti-religious, patriotic, and other campaigns that were central to Soviet children’s culture after the 1917 Revolution.
Picturing Transformation by Nancy Bleck,Katherine Dodds,Chief Bill Williams Pdf
The remarkable story of how a First Nations chief, an artist and a mountaineer evolved a new form of environmental and cultural activism, and saved 50,000 hectares of forest in the processThe history of British Columbia is rife with stories of conflict between loggers and environmentalists, First Nations and government-backed corporations. Many of them have ended in violence, arrests and clear-cutting. Between 1997 and 2007 Farm License 38 , encompassing Sims Creek in the upper Elaho Valley became the site of a wholly different kind of protest. Because of the actions of ten thousand people brought together by Squamish Nation Hereditary Chief Bill Williams, artist Nancy Bleck and the late mountaineer John Clarke, this land - a 50,000-hectare section of the Squamish First Nation now known as Wild Spirit Places--was saved. It was a stunning example of how welcoming people to the land, showing them its physical and spiritual wealth and allowing them to experience it themselves transformed the way they saw it. And by quietly, cumulatively building a critical mass of people who had seen--witnessed--this land firsthand and come to view it as important; the Uts'am/WitnessProject provided a new way for peacefully mobilizing people and preserving land from logging. Picturing Transformation is the story of Uts'am/Witness, a series of camping weekends held at Sims Creek that brought together First Nations and non-First Nations people to walk, sleep, eat, make art, have conversations and participate in ceremonies on this disputed land. Through the words and photos of those who attended, this beautiful book pays homage to the power that people with strong vision and a common purpose can play in honouring tradition, safeguarding land and changing policy. It is a lesson in the possibilities for resolving conflict peacefully, now and in the future.homage to the power that people with strong vision and a common purpose can play in honouring tradition, safeguarding land and changing policy. It is a lesson in the possibilities for resolving conflict peacefully, now and in the future.
The advent of photography opened up new worlds to 19th century viewers, who were able to visualize themselves and the world beyond in unprecedented detail. But the emphasis on the photography's objectivity masked the subjectivity inherent in deciding what to record, from what angle and when. This text examines this inherent subjectivity. Drawing on photographs that come from personal albums, corporate archives, commercial photographers, government reports and which were produced as art, as record, as data, the work shows how the photography shaped and was shaped by geographical concerns.
Working for the government's Farm Security Administration in the 1930s, photographers set out across the country to capture the human face of the Depression. Picturing Poverty examines how popular magazines used these images to construct complex and often contradictory messages about poverty. By striving to understand the original context of the photographs, Finnegan shines new light on the meanings of poverty, the Depression, and the various roles of the media.
Migrant Form examines the works of James Joyce, Salman Rushdie, and Satyajit Ray for the anti-colonial arguments in their unsettled, and unsettling, aesthetics. Among the questions it engages are the following: What are the aesthetic moves through which art expresses its resistance to dominance and demands for conformity? How can we define anti-colonial aesthetics? How do these aesthetics manifest themselves in different media such as literature and film? Contending that Joyce inaugurates an anti-colonial «aesthetics of reconstitution», the book mines such aesthetics in Ulysses and Finnegans Wake to propose a formal model for postcolonialism. It also draws on that exercise to consider how Rushdie extends a play with reconfigured forms into an overt politics in two of his novels (Midnight's Children and The Satanic Verses). Turning its attention to film, the book contests the common view of Ray as a gentle realist and examines a formal restlessness in Ray's earlier work, Charulata (The Lonely Wife), before demonstrating how Ray stages his preference for restlessness in his final film, Agantuk (The Stranger).
The kingdom of heaven--what is it exactly? Only one book in the Bible uses this terminology: the gospel of Matthew, and it presents it thirty-three times in just twenty-eight chapters. Though the kingdom of God appears as well in the work, it appears separate from the kingdom of heaven, and in full alignment with the seven kingdom types of Scripture. In substance, this kingdom relates to the literal reign of Christ on earth. But Matthew uses it more to refer to the time just before it is set up on earth. He uses it more to speak of conditions that are to exist at the end of the tribulation prior to the kingdom age. This makes his presentation unique and unlike any other. In its prime position, which is first and foremost in the order of the gospels and first and foremost in the order of the New Testament, this gospel lays the groundwork for all that comes after it and is said by others. Written from a disciple's perspective, it reveals the inner workings of Jesus's ministry on earth, going beyond the teachings and miracles to give the purpose behind these things and explain what was going on behind the scenes, showing that, more than Christ, Jesus was the Savior of the world and a "King." The title "King of kings and Lord of lords," from the last book of the Bible, resonates with the account. The gospel follows a theme from beginning to end. Every part contributes to the whole. The textual arrangement of prophetic precision brings everything together. And though written to Jews of the first century, shortly after the time of Jesus's ascension, grasped today, these timeless truths compel one to live the Christian life on a higher plane.
Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century's Most Photographed American by John Stauffer,Zoe Trodd,Celeste-Marie Bernier Pdf
A landmark and collectible volume—beautifully produced in duotone—that canonizes Frederick Douglass through historic photography. Commemorating the bicentennial of Frederick Douglass’s birthday and featuring images discovered since its original publication in 2015, this “tour de force” (Library Journal, starred review) reintroduced Frederick Douglass to a twenty-first-century audience. From these pages—which include over 160 photographs of Douglass, as well as his previously unpublished writings and speeches on visual aesthetics—we learn that neither Custer nor Twain, nor even Abraham Lincoln, was the most photographed American of the nineteenth century. Indeed, it was Frederick Douglass, the ex-slave-turned-abolitionist, eloquent orator, and seminal writer, who is canonized here as a leading pioneer in photography and a prescient theorist who believed in the explosive social power of what was then just an emerging art form. Featuring: Contributions from Henry Louis Gates, Jr., and Kenneth B. Morris, Jr. (a direct Douglass descendent) 160 separate photographs of Douglass—many of which have never been publicly seen and were long lost to history A collection of contemporaneous artwork that shows how powerful Douglass’s photographic legacy remains today, over a century after his death All Douglass’s previously unpublished writings and speeches on visual aesthetics
Author : Darrell William Davis Publisher : Columbia University Press Page : 336 pages File Size : 51,8 Mb Release : 1996 Category : History ISBN : 0231102313
Picturing Japaneseness by Darrell William Davis Pdf
Explores the role of 1930s Japanese cinema in the construction of a national identity and in the larger context of Japan's encounter-and struggle-with the West and modernity. Davis lends a new perspective to such celebrated films as Gate of Hell, Kagemusha, and Ran.
In this book, Hertha D. Sweet Wong examines the intersection of writing and visual art in the autobiographical work of twentieth- and twenty-first-century American writers and artists who employ a mix of written and visual forms of self-narration. Combining approaches from autobiography studies and visual studies, Wong argues that, in grappling with the breakdown of stable definitions of identity and unmediated representation, these writers-artists experiment with hybrid autobiography in image and text to break free of inherited visual-verbal regimes and revise painful histories. These works provide an interart focus for examining the possibilities of self-representation and self-narration, the boundaries of life writing, and the relationship between image and text. Wong considers eight writers-artists, including comic-book author Art Spiegelman; Faith Ringgold, known for her story quilts; and celebrated Indigenous writer Leslie Marmon Silko. Wong shows how her subjects formulate webs of intersubjectivity shaped by historical trauma, geography, race, and gender as they envision new possibilities of selfhood and fresh modes of self-narration in word and image.