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William Harnett’s Curious Objects by Nika Elder Pdf
Admired for his trompe l’oeil style, American painter William Harnett (1848–1892) was as intellectually ambitious as he was technically skilled. The first scholarly monograph on the artist, William Harnett’s Curious Objects details Harnett’s career-long effort to position still life as a serious art. Nika Elder elevates the significance of Harnett’s academic training and questions his apparent turn away from it. Reading his still lifes in relation to wartime visual culture, literary realism, museum display, and industrial design, she shows how Harnett experimented with inanimate objects and pictorial techniques to represent the human condition without depicting the human body. His paintings illustrate late nineteenth-century American material culture, but they also represent Reconstruction, interiority, death and life, and the imagination. By engaging such lofty themes, Harnett reimagined history painting for the modern era. His work thus locates Gilded Age art and culture in the long shadow of the Civil War and its politics.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1969. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived
In his short but productive career, William Michael Harnett (1848-1892) became the great American master of trompe-l'oeil still-life painting. His works, popular with the public long before they were appreciated by the art critics, "fool the eye" with their convincing, sharp-edged definition of form and careful rendering of materials. This volume provides the first thorough examination of Harnett's career and its significance for the history of American art. Twenty-two essays by a roster of leading scholars examine three major areas: Harnett's relationship to his contemporaries, among them painters, patrons, critics, and the general public; his formative training and experiences; and the meaning of his themes for the audience that supported him. These essays discuss not only Harnett's own technical skill and artistic development, but also the aesthetic issues of illusionism and trompe l'oeil, Harnett's relationship to other painters working in a similar vein, and the implications of his subject matter. Ultimately, the essays help to resolve the question of how Harnett's technically skillful imitations of real objects fit the definition of "art" and what his popularity says about the culture in which he worked and lived. Each of the editors has written an essay for this volume; other contributors include Henry Adams, Maria Chamberlin-Hellman, Nicolai Cikovsky, Jr., Elizabeth Jane Connell, William H. Gerdts, Elizabeth Johns, Judy L. Larson, David M. Lubin, Chad Mandeles, Roxana Robinson, and Paul J. Staiti. The forty-nine works reproduced in full color and arranged chronologically provide the first comprehensive survey of Harnett's work. A bibliography, chronology, and thorough index addto the reference value of this handsome volume.
In Facing Facts, David Shi provides the most comprehensive history to date of the rise of realism in American culture. He vividly captures the character and sweep of this all-encompassing movement - ranging from Winslow Homer to the rise of the Ash Can school, from Whitman to Henry James to Theodore Dreiser. He begins with a look at the antebellum years, when idealistic themes were considered the only fit subject for art (Hawthorne wrote that "the grosser life is a dream, and the spiritual life is a reality"). Whitman's assault on these otherworldly standards coincided with sweeping changes in American society: the bloody Civil War, the aggressive advance of a modern scientific spirit, the emergence of photography and penny newspapers, the expansion of cities, capitalism, and the middle class - all worked to shake the foundations of genteel idealism and sentimental romanticism. The public developed an ever-expanding appetite for concrete facts and for art that accurately depicted them. As Shi proceeds through the nineteenth century, he traces the realist impulse in each major area of arts and letters, combining an astute analysis of the movement's essential themes with incisive portraits of its leading practitioners. Here we see Oliver Wendell Holmes, Jr., shaken to stern realism by the horrors of the Civil War; the influence of Walt Whitman on painter Thomas Eakins and architect Louis Sullivan, a leader of the Chicago school; the local-color verisimilitude of Louisa May Alcott and Sarah Orne Jewett; and the impact of urban squalor on intrepid young writers such as Stephen Crane. In the process of surveying nineteenth-century cultural history, Shi provides fascinating insights into thespecific concerns of the realist movement - in particular, the nation's growing obsession with gender roles. Realism, he observes, was in part an effort to revive masculine virtues in the face of effeminate sentimentality and decorous gentility. By the end of the nineteenth century, realism had displaced idealism as the dominant approach in thought and the arts. During the next two decades, however, a new modernist sensibility challenged the fact-devouring emphasis of realism: "Is it not time", one critic asked, "that we renounce the heresy that it is the function of art to record a fact?" Shi examines why so many Americans answered yes to this question, under influences ranging from psychoanalysis to the First World War. Nuanced, detailed, and comprehensive, Facing Facts provides the definitive account of the realist phenomenon, revealing its essential causes, explaining why it played so great a role in American cultural history, and suggesting why it retains its perennial fascination.
Author : Detroit Institute of Arts Publisher : American Paintings in the Detr Page : 312 pages File Size : 55,7 Mb Release : 2005 Category : Art ISBN : UOM:39015058763411
American Paintings in the Detroit Institute of Arts: Forging a modern identity : masters of American painting born after 1847 by Detroit Institute of Arts Pdf
This long-awaited publication, the third in a series of titles co-published with the Detroit Institute of Arts, completes the study of American paintings in the museum's outstanding collection with 129 colour images of works by artist born after 1847. The American art collection at Detroit covers a broad range of artistic endeavours, but the strength of the American holdings is the painting collection. Especially strong are those paintings from the latter part of the 19th century and the beginnings of the 20th, which are the focus of this volume. Signature works featured in this book include Sargent'sMadame Paul Poirson andMosquito Nets, Chase'sYield of the Waters, Hassam'sPlace Centrale andFort Cabanas, Havana, Dewing'sThe Recitation, Sloan'sMcSorley's Bar, and Hartley'sLog Jam, Penobscot Bay.
Author : Museum of Fine Arts (Springfield, Mass.) Publisher : Springfield Library & Museum Association Page : 262 pages File Size : 47,9 Mb Release : 1999 Category : Art ISBN : UOM:39015056234365
Selections from the American Collections of the Museum of Fine Arts and the George Walter Vincent Smith Art Museum by Museum of Fine Arts (Springfield, Mass.) Pdf
Ye Parish of Camerwell by William Harnett Blanch Pdf
Reprint of the original, first published in 1875. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
A book on the functions, styles and structure of the major visual art forms, this text is reputed to have the best treatment available on the theory and practice of art criticism. It examines the connection between the visual, social, and physical dimensions of everyday life in which the arts perform essential roles, while illustrating clearly the common features of theme and style in works of art separated by time and culture.
Money and Materiality in the Golden Age of Graphic Satire by Amanda Lahikainen Pdf
This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire altogether.
