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Relevant bibliographies by topics / American Genre painting

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Academic literature on the topic 'American Genre painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 February 2023

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Journal articles on the topic "American Genre painting"

1

Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 04 (2014): 603–44. http://dx.doi.org/10.1017/s0003161500003588.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.

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Webster, Susan V. "Of Signatures and Status: Andrés Sánchez Gallque and Contemporary Painters in Early Colonial Quito." Americas 70, no. 4 (2014): 603–44. http://dx.doi.org/10.1353/tam.2014.0074.

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The 1599 portrait Don Francisco de Arobe and His Sons, Pedro and Domingo by Andean artist Andres Sanchez Gallque (Figure 1) is one of the most frequently cited and reproduced paintings in the modern literature on colonial South America. The painting has been extensively praised, parsed, and interpreted by twentieth- and twenty-first-century authors, and heralded as the first signed South American portrait. “Remarkable” is the adjective most frequently employed to describe this work: modern authors express surprise and delight not only with the persuasive illusionistic power of the painting, the mesmerizing appearance of its subjects, and the artist's impressive mastery of the genre, but with the fact that the artist chose to sign and date his work, including a specific reference to his Andean identity.

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3

Bjelajac, David, and Elizabeth Johns. "American Genre Painting: The Politics of Everyday Life." American Historical Review 98, no. 1 (1993): 241. http://dx.doi.org/10.2307/2166533.

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Blodgett, Geoffrey, and Elizabeth Johns. "American Genre Painting: The Politics of Everyday Life." Journal of American History 80, no. 2 (1993): 674. http://dx.doi.org/10.2307/2079932.

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Rash, Nancy, and Elizabeth Johns. "American Genre Painting: The Politics of Everyday Life." Journal of Interdisciplinary History 24, no. 1 (1993): 170. http://dx.doi.org/10.2307/205133.

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Rudolph, Conrad, and Jason Weems. " War News from Mexico and The Chelsea Pensioners: Richard Caton Woodville and the Democratized Reception of War News." Zeitschrift für Kunstgeschichte 85, no. 4 (2022): 520–49. http://dx.doi.org/10.1515/zkg-2022-4006.

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Abstract Richard Caton Woodville’s 1848 painting War News from Mexico, made during his studies at the Kunstakademie in Düsseldorf, is among the most iconic American images from before the Civil War (1861–1865). Traditionally, it has been seen as a sentimentalized and politically ambiguous representation of the American “middling sort.” What has gone completely unnoticed is that Woodville systematically adapted every single figure and the basic composition from an even better-known painting by another noted genre painter, the 1822 Chelsea Pensioners by David Wilkie. But whereas Wilke presented an idealized depiction of the British “common sort,” Woodville – perhaps because of his perspective from the Revolutions of 1848 in Germany – constructed a critical, declarative, and even edgy view of American democracy compromised by the inherent contradiction of slavery. Such a claim of a direct political message for War News goes against a preponderance of scholarship that positions the artist (and to a degree all antebellum genre painting) as non-committal.

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Koo, Lina Shinhwa. "Export Paintings as Art and Agency." Athanor 39 (November 22, 2022): 95–110. http://dx.doi.org/10.33009/fsu_athanor131145.

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Export paintings that depict local images of one’s country with the purpose of being sold to foreign customers emerged in China and Korea in the late eighteenth and late nineteenth centuries, respectively, when the countries opened their ports to Europe and America. Given this historical context, the conventional understanding of export paintings of the two countries has been twofold at large: 1) commodities that reflect Euro-American customers’ tastes for exotic imageries and 2) ethnographic resources that exhibit unique characteristics of each country’s culture. While these interpretations have a valid ground, they often undermine the artistic qualities of the painting genre, separating it from the existing painting traditions. To broaden this perspective, my paper aims to suggest plural ways of discerning export paintings through cross-cultural comparisons. In doing so, this study highlights the integral roles of export painters in responding to changing social, political, and economic circumstances, posing a critical question for investigation: whether export paintings are images of self-objectification with the instillation of Orientalist ideologies or creative outcomes with an artistic agency. While these two stances are not mutually exclusive nor contradictory to each other, this core question allows one to challenge the linear understanding of the history of “non-western” art.

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Gernes, Todd S. "American Genre Painting: The Politics of Everyday Life. Elizabeth Johns." Winterthur Portfolio 29, no. 2/3 (1994): 196–98. http://dx.doi.org/10.1086/496662.

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9

Zinchenko, Veronika. "Maxim Shaligin’s Ballet “Hopper”: at the Crossroads of Interspecific Interpretation and Artistic Translation." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 154–66. http://dx.doi.org/10.31318/2522-4190.2021.131.243227.

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Relevance of the study. Maxim Shalygin’s ballet “Hopper” is for the first time explored both from the point of view of its genre and intonation specifics, and in terms of interspecific connections with the painting by American artist Edward Hopper “Morning Sun”. The author’s methods of interspecific literary translation of E. Hopper’s style are revealed by immanently intonation means. The expediency of using the definition of intermedial interpretation, which is a kind of interpretation by composer of a work of a related art form by means of interspecific literary translation, has been substantiated. The relevance of the study is due to the first scientific appeal to the ballet work of the Ukrainian-Dutch composer Maksim Shalygin (1985) in the context of an intermedia composer’s interspecific. An analytical study of M. Shalygin’s ballet "Hopper" with an emphasis on identifying the specifics of the transplantation of E. Hopper’s style into the genre-intonational essence of ballet provides the innovative status of the presented study. The main objective of the study is to reveal the interpretational specifics of M. Shalygin’s ballet “Hopper” in the aspect of intermedial interpretation. Based on the study of the artistic style of E. Hopper (in particular, his painting “Morning Sun”), the features of the composer’s work on the “translation” and transplantation of the artist’s style into the immanent-musical plane (the model of “pictorial music”) are investigated. The following research methods are adapted in the work: the comparative method (to compare the genre features of M. Shalygin’s ballet and E. Hopper’s painting), the method of genre-intonation analysis — to highlight the immanently musical specifics of ballet; the method of theoretical generalization — for understanding the tendencies of the composer’s work in the intermedial space. Results. In the course of the research, it was found that M. Shalygin, who displays a tendency to-wards intermedial artistic thinking in his work, creates in the ballet “Hopper” an interpretation and sound commentary on the painting by E. Hopper. An important feature of the ballet is the process of transformation at all levels of genre-intonation organization. It is a partial rethinking of the themes of his already existing work “Duet” with the transformation of a non-ballet work into a ballet one proper, and, if we take into account the author’s title of the work “Serenade”, a transformation of the serenade`s genre, which in the process of development loses its real genre coordinates, and, occurrence intonational “transformers” from two ballet themes, each of which represents the main features of E. Hopper’s work (clarity of lines, playing with the light’s).In the process of intermedial interpretation, the phenomenon of “musical painting” is born, which realizes the artistic translation of the American artist’s style by means of music. Thanks to finding musical and intonational equivalents to the main stylistic features of the artist (clear geometric lines, playing with light, the imaginative system of loneliness and alienation) M. Shalygin manages to create a picturesque picture by intonation means.

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Witkowski, Terrence H. "Farmers Bargaining: Buying and Selling as a Subject in American Genre Painting, 1835-1868." Journal of Macromarketing 16, no. 2 (1996): 84–101. http://dx.doi.org/10.1177/027614679601600208.

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Dissertations / Theses on the topic "American Genre painting"

1

Kilbane, Nora C. "A Tug From The Jug: drinking and temperance in American genre painting, 1830-1860." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164648727.

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Books on the topic "American Genre painting"

1

American genre painting: Politics of everyday life. Yale U. P., 1993.

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2

ten-Doesschate, Chu Petra, Trust for Museum Exhibitions, and Dixon Gallery and Gardens, eds. Redefining genre: French and American painting 1850-1900. Trust for Museum Exhibitions, 1995.

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3

Johns, Elizabeth. American genre painting: The politics of everyday life. Yale University Press, 1991.

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4

Henry Francis du Pont Winterthur Museum., ed. John Lewis Krimmel: Genre artist of the early Republic. Winterthur Publications, 1994.

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1838-1921, Walker William Aiken, Toledano Roulhac, and Swanson Betsy, eds. William Aiken Walker, southern genre painter. Pelican Pub. Co., 2008.

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6

Clark, Henry Nichols Blake. Francis W. Edmonds, American master in the Dutch tradition. Published for Amon Carter Museum by Smithsonian Institution Press, 1988.

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7

Nunes, Jadviga M. Da Costa. Painting progress: American art & the idea of technology, 1800-1917. Allentown Art Museum, 1991.

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8

1942-, Weinberg H. Barbara, Barratt Carrie Rebora, Metropolitan Museum of Art (New York, N.Y.), and Los Angeles County Museum of Art., eds. American stories: Paintings of everyday life, 1765-1915. Metropolitan Museum of Art, 2009.

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1942-, Weinberg H. Barbara, Barratt Carrie Rebora, Metropolitan Museum of Art (New York, N.Y.), and Los Angeles County Museum of Art., eds. American stories: Paintings of everyday life, 1765-1915. Metropolitan Museum of Art, 2009.

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10

Seidler, Ramirez Jan, Burgard Timothy Anglin, Hudson River Museum, and Margaret Woodbury Strong Museum, eds. Domestic bliss: Family life in American painting, 1840-1910. Hudson River Museum, 1986.

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Book chapters on the topic "American Genre painting"

1

"Introduction." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.003.

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"1. Ordering the Body Politic." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.004.

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"2. An Image of Pure Yankeeism." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.005.

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"3. From the Outer Verge of Our Civilization." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.006.

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"4. Standing Outside the Door." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.007.

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"5. Full of Home Love and Simplicity." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.008.

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"6. The Washed, the Unwashed, and the Unterrified." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.009.

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"7. Inspired from the Higher Classes." In American Genre Painting: The Politics of Everyday Life. Yale University Press, 1991. http://dx.doi.org/10.37862/aaeportal.00011.010.

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9

Levy, Evonne. "2. The Elevation of the Genre of “Shrine Paintings” in Peru." In The Ibero-American Baroque. University of Toronto Press, 2022. http://dx.doi.org/10.3138/9781442618831-005.

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10

"4. Lilly Martin Spencer’s Domestic Genre Painting in Antebellum America." In Picturing a Nation: Art and Social Change in Nineteenth-Century America. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00093.007.

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