In his 52 years as a lithographer, Taylor (1907-1991) created 142 prints--all of them represented in this catalogue. During his career he was an Academician of the National Academy of Design, was president of the Society of Washington Printmakers, and taught at the American University in Washington D.C. Several essays surveying Taylor's life and work precede the presentation of captioned bandw images. 9.25x12.25" Annotation copyright by Book News, Inc., Portland, OR
The first comprehensive book about the Washington, D.C., art world, this study features humorous and unique stories about the artists and art districts of one of the U.S.'s most visited cities. The city's many firsts include are the first modern art museum, the first African-American gallery, and the first art fair. Important in the feminist art movement, it hosted the opening of the National Museum of Women in the Arts. Chapters are arranged by decade beginning with 1900, and highlight trends in portraits and landscapes, galleries and museums, nonprofits, cooperatives, art fairs, family stories and the Artomatic experience.
For well over a century, New York has been a microcosm of the art and craft of American printmaking. Until 1825, printmaking in America was almost entirely an artisan's craft. Then, with the arrival of lithography, the realization arose that printmaking could also be a fine art. The essays published in this collection contribute to the body of scholarship by identifying important but hitherto insufficiently studied aspects of the graphic arts and treating them authoritatively. Their subjects concern prints in New York State, whose great metropolitan city was, after 1825, the acknowledged center of nearly everything important in the graphic arts in the U.S. The history of American prints from 1825 on is enormously rich, yet until the 1970s it was the least studied and understood aspect of the history of art in North America. It is a history more deeply rooted in popular culture and more closely tied, for a long time, to the world of commerce than the other arts. The usually small-scale, sometimes ephemeral, and often highly subtle (or highly unsubtle) nature of prints makes it easy to overlook them. The collection of essays included here were originally presented at the Twelfth Annual North American Print Conference, held in 1981 in Syracuse, New York. Locally organized, these conferences have been held during the last decade throughout the U.S. and Canada to further the study of the history of the pictorial graphic arts in North America. Contributors include several leading historians of the graphic arts of nineteenth-century America. Their chapters bring to life and flesh out figures who were previously little more than names, establish facts that correct long-held erroneous assumptions, introduce many prints of exceptional interest that have remained out of the public view for generations, and provide a rich, new context for many familiar images.
DaSilva draws together key essays dealing with the span of Spanish and Latin American arts, ranging from literature, music, film, and ballet to painting. Scholars and researchers involved with the scope of Spanish and Spanish American arts will find this collection of particular value. The selections center on basic themes including the icons of Spain, the use of characters from classic Spanish literature in performing and visual arts, romantic and modern Spanish writers and their influences, and the fusion of Mexican and Spanish culture. The selections center on ten basic themes: The early icons of Spain; the uses of Don Quixote from operas to painting; Don Juan is given a similar treatment, with theater, film, and ballet in addition to literature and opera; an examination of areas of fusion of Spanish and Mexican culture; Spanish Romantics in opera and ballet; modern writers whose work appears in musical transcription; modern writers whose novels appear in film; an examination of works that parody earlier pieces; a survey of the interrelationship between painting and its literary sources; and a look at the variegated artistic peregrinations of such contemporaries as Marquez, Puig, Skarmeta, and others. Scholars and researchers involved with the scope of Spanish and Spanish American arts will find this collection of particular value.
The social realist movement, with its focus on proletarian themes and its strong ties to New Deal programs and leftist politics, has long been considered a depression-era phenomenon that ended with the start of World War II. This study explores how and why African American writers and visual artists sustained an engagement with the themes and aesthetics of social realism into the early cold war-era--far longer than a majority of their white counterparts. Stacy I. Morgan recalls the social realist atmosphere in which certain African American artists and writers were immersed and shows how black social realism served alternately to question the existing order, instill race pride, and build interracial, working-class coalitions. Morgan discusses, among others, such figures as Charles White, John Wilson, Frank Marshall Davis, Willard Motley, Langston Hughes, Sterling Brown, Elizabeth Catlett, and Hale Woodruff.
Explores the dynamic nature of Christ worship in the U.S., addressing how his image has been visually remade to champion the causes of white supremacists and civil rights leaders alike, and why the idea of a white Christ has endured.
