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The Great Book of Currier and Ives' America by Walton Rawls Pdf
With hundreds of illustrations by Currier and Ives, America's preeminnet printmakers, The Great Book Of Currier and Ives America also includes a fascinating history of everyday life in the country's turbulent formative years. 439 illustrations, 328 in full color.
In the 1800s—long before the days of photojournalism and cable news—vibrant, contemporary depictions of news events, portraits of prominent political and social figures, and scenic views of the American wilderness were circulated throughout the growing nation. From the beginning of the exciting century that saw a small nation expand into a mighty world power, the famous lithographic firm of Nathaniel Currier and James Merritt Ives produced over 7,000 prints, capturing scenes of American life in vivid detail. Currier & Ives prints were each colored individually, by hand, and collectors have prized their skilled craftsmanship and keen sense of composition for generations. This timeless collection, complete with more than three hundred illustrations in full color and a masterful text by historian Walton Rawls, captures a beloved piece of Americana. With festive holiday scenes, watershed historical moments, and idyllic depictions of the American countryside, this book will hold perennial appeal for lovers of history, art, and a classic take on the American experience.
Revisiting America: The Prints of Currier and Ives by Anonim Pdf
"Engravings for the people" a fresh appraisal of the printmakers Currier & Ives and their vision of America Currier & Ives was a powerhouse of 19th-century publishing and had an immeasurable influence on American visual culture. Founded in New York in 1834 by Nathaniel Currier, the company expanded to include a new partner, James Merritt Ives, after 1857. Currier & Ives produced millions of affordably priced copies of over 7,000 original lithographs, living up to its self-appointed title as "The Grand Central Depot for Cheap and Popular Prints." The firm took advantage of New York City's booming arts culture in the latter half of the 19th century, but its output was not seen as fine art by critics, nor was it intended as such. Its prints were first and foremost commodities; the choice subjects often determined by popularity and sales figures. Currier & Ives perpetuated Victorian ideals in its depictions of family, history, politics and urban and suburban life. But these prints also served as an important record of a nation in the midst of an extraordinary transformation from a rural and agricultural landscape to an industrialized and urbanized global power. Along with their popular appeal, Currier & Ives's images offer a new opportunity to uncover the complexities and contradictions of our history and help shape our understanding of America's past.
"When Nathaniel Currier started his publishing business in 1834, the mass production of visual images was almost unknown. Currier and his partner, James Ives, literally changed the American landscape by mass-producing inexpensive lithographs and selling millions of copies that adorned countless homes, businesses, and even barns. The Currier and Ives catalog included some 7,000 works by dozens of artists, accounting for 95 percent of all lithographs purchased nationwide. Bryan F. Le Beau provides the first in-depth study of the sweeping range of Currier and Ives images produced until the end of the century, placing them in historical context as meaningful representations and reflections of American values, beliefs, hopes, and dreams."--Jacket.
Author : Susan J. Matt Publisher : Oxford University Press Page : 360 pages File Size : 51,5 Mb Release : 2014-04-17 Category : History ISBN : 9780199707447
Homesickness today is dismissed as a sign of immaturity, what children feel at summer camp, but in the nineteenth century it was recognized as a powerful emotion. When gold miners in California heard the tune "Home, Sweet Home," they sobbed. When Civil War soldiers became homesick, army doctors sent them home, lest they die. Such images don't fit with our national mythology, which celebrates the restless individualism of colonists, explorers, pioneers, soldiers, and immigrants who supposedly left home and never looked back. Using letters, diaries, memoirs, medical records, and psychological studies, this wide-ranging book uncovers the profound pain felt by Americans on the move from the country's founding until the present day. Susan Matt shows how colonists in Jamestown longed for and often returned to England, African Americans during the Great Migration yearned for their Southern homes, and immigrants nursed memories of Sicily and Guadalajara and, even after years in America, frequently traveled home. These iconic symbols of the undaunted, forward-looking American spirit were often homesick, hesitant, and reluctant voyagers. National ideology and modern psychology obscure this truth, portraying movement as easy, but in fact Americans had to learn how to leave home, learn to be individualists. Even today, in a global society that prizes movement and that condemns homesickness as a childish emotion, colleges counsel young adults and their families on how to manage the transition away from home, suburbanites pine for their old neighborhoods, and companies take seriously the emotional toll borne by relocated executives and road warriors. In the age of helicopter parents and boomerang kids, and the new social networks that sustain connections across the miles, Americans continue to assert the significance of home ties. By highlighting how Americans reacted to moving farther and farther from their roots, Homesickness: An American History revises long-held assumptions about home, mobility, and our national identity.
The untold story of baseball’s nineteenth-century origins: “a delightful look at a young nation creating a pastime that was love from the first crack of the bat” (Paul Dickson, The Wall Street Journal). You may have heard that Abner Doubleday or Alexander Cartwright invented baseball. Neither did. You may have been told that a club called the Knickerbockers played the first baseball game in 1846. They didn’t. Perhaps you’ve read that baseball’s color line was first crossed by Jackie Robinson in 1947. Nope. Baseball’s true founders don’t have plaques in Cooperstown. They were hundreds of uncredited, ordinary people who played without gloves, facemasks, or performance incentives. Unlike today’s pro athletes, they lived full lives outside of sports. They worked, built businesses, and fought against the South in the Civil War. In this myth-busting history, Thomas W. Gilbert reveals the true beginnings of baseball. Through newspaper accounts, diaries, and other accounts, he explains how it evolved through the mid-nineteenth century into a modern sport of championships, media coverage, and famous stars—all before the first professional league was formed in 1871. Winner of the Casey Award: Best Baseball Book of the Year
No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.
