Thomas Cole (1801–1848) is celebrated as the greatest American landscape artist of his generation. Though previous scholarship has emphasized the American aspects of his formation and identity, never before has the British-born artist been presented as an international figure, in direct dialogue with the major landscape painters of the age. Thomas Cole’s Journey emphasizes the artist’s travels in England and Italy from 1829 to 1832 and his crucial interactions with such painters as Turner and Constable. For the first time, it explores the artist’s most renowned paintings, The Oxbow (1836) and The Course of Empire cycle (1834–36), as the culmination of his European experiences and of his abiding passion for the American wilderness. The four essays in this lavishly illustrated catalogue examine how Cole’s first-hand knowledge of the British industrial revolution and his study of the Roman Empire positioned him to create works that offer a distinctive, even dissident, response to the economic and political rise of the United States, the ecological and economic changes then underway, and the dangers that faced the young nation. A detailed chronology of Cole’s life, focusing on his European tour, retraces the artist’s travels as documented in his journals, letters, and sketchbooks, providing new insight into his encounters and observations. With discussions of over seventy works by Cole, as well as by the artists he admired and influenced, this book allows us to view his work in relation to his European antecedents and competitors, demonstrating his major contribution to the history of Western art.
"Here is a book which deals with clashes between economic and political factors in the American Revolution as realistically as if its author were dealing with a presidential election."--Social Studies "An admirable analysis. It presents, in succinct form, the results of a generation of study of this chapter of our history and summarizes fairly the conclusions of that study."--Henry Steele Commager, New York Times Book Review
"In the seemingly mundane Northern farm of early America and the people who sought to improve its productivity and efficiency, Emily Pawley finds a world rich with innovative practices and marked by a developing interrelationship between scientific knowledge, industrial methods, and capitalism. Agricultural "improvers" became increasingly scientistic, driving tremendous increases in the range and volume of agricultural output-and transforming American conceptions of expertise, success, and exploitation. Pawley's focus on soil, fertilizer, apples, mulberries, agricultural fairs, and experimental stations shows each nominally dull subject to have been an area of intellectual ferment and sharp contestation: mercantile, epistemological, and otherwise"--
This book brings together the proceedings of the inaugural conference of the University of Arizona Center for American Culture and Ideas (CACI), an institution dedicated to studying and promoting the arts, particularly investigating the relationship between the high arts and culture in America. The conference was titled “The Future of (High) Culture in America,” and was held in March 2014. Presenters and respondents included practicing artists, critics, educators and academics, curators, and art purveyors, all at the top of their game. Papers were presented, followed by comments from a panel of respondents and an audience question and answer period. The conference title can be read as both a statement and a question: Is there high culture in America, and if so, is it in jeopardy? This suggests an opportunity to consider what “culture” or “high culture” means. This book explores a range of subjects, including music, dance, the visual arts (particularly photography), and more general philosophical and psychological matters. As such, it offers a fascinating and provocative kaleidoscope of the position of arts and culture in America.
In 1909, two mummies, one dating from the 21st Dynasty and the other from the Ptolemaic Period, arrived in Albany, New York. Purchased from the Egyptian Museum in Cairo by Albany businessman Samuel Brown for the Albany Institute of History & Art (AIHA), they have been on continuous exhibition since then and are the most popular, celebrated, and best remembered of the museum's collections. The story of their discovery in the tombs at Deir el-Bahri and their subsequent purchase by Brown, transport by steamship from Cairo to New York City, and steamboat travel to Albany was covered extensively by the Albany newspapers, and visitors from school-aged children to senior citizens often recount stories about their first encounter with the Albany mummies. The Mystery of the Albany Mummies tells the fascinating tale of these two mummies, from their initial mummification in ancient Egypt, to their acquisition by the AIHA in 1909, and finally to 2013, when the mystery of their identities was uncovered through the intersection of historical scholarship, science, and technology. In the book, which draws on the Institute's 2013–2014 exhibition "GE Presents: The Mystery of the Albany Mummies," scholars from around the world use new scholarship, scientific methods, and medical technology to determine the ages, sexes, occupations, and lifestyles of these two ancient denizens of the AIHA.
Art in Time is the first book to embed art movements within the larger context of politics and history. Global in scope and featuring an innovative present‐to‐past arrangement, the book’s accessible text looks back on the most significant art styles and movements, from the present day to antiquity. Pages of historical photographs, documents, newspaper headlines, and other ephemera evoke the times in which styles and movements arose. The book opens with The Information Age (Internet Art, Neo‐Expressionaism, Arte Povera) and closes with The Classical Age (Roman wall painting, Hellenistic Greek style), covering everything from Photorealism, Art Brut, Ukiyo‐e, and Byzantine style in between. An integrated timeline provides a linear thread throughout the book, while succinct, authoritative text illuminates key points.