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Relevant bibliographies by topics / Genre painting, American Genre painting, American Genre painting

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Academic literature on the topic 'Genre painting, American Genre painting, American Genre painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Genre painting, American Genre painting, American Genre painting"

1

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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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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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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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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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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Felczak, Mateusz. "Audiosfery lochów, poetyki krajobrazu. Ślady estetyk romantyzmu w grach cRPG." Panoptikum, no. 24 (October 20, 2020): 28–44. http://dx.doi.org/10.26881/pan.2020.24.03.

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The aim of this text is to discern and analyze aesthetic tropes in selected fantasy cRPG games in the areas of visual arts and music. The analysis is conducted in the context of American romanticism, especially Hudson River School of painting, and musical works belonging to the dungeon synth genre. Through the enumeration and close reading of the elements pertaining both gameplay and digital landscapes, it is argued that the specific type of romantic imagery and its philosophical underpinnings may have influenced the recurring themes in cRPG games, including character development, avatar’s agency and player’s projected disposition towards the game world.

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9

Jabbar, Amjed L. "The Manipulation of History and Memory in Contemporary American Poetry: A Study of Ekphrasis in the Poetry of Jorie Graham." Al-Adab Journal 2, no. 111 (2015): 45–62. http://dx.doi.org/10.31973/aj.v2i111.1596.

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Ekphrasis enables poets to invade the most difficult and sensitive areas of thought without the pressure of direct expression. Ekphrastic poetry has a tendency to draw together contradictions; the work of art acting as intermediary between points of opposition, tension and contrast. The presence of the ekphrastic object in a poem is an acknowledgement of the unbridgeable hermeneutic gap between poetry, history and the real, indeed it often acts as the marker that exposes this gap. Also in a practical way, through both its critical and art-historical backgrounds, the practice of ekphrasis is located very firmly within arguments of a temporal nature; it is important to remember that paintings have a material history as well as a conceptual one, and that contemporary poetry is increasingly taking into account, and even seeking to replicate in some cases, the space of the museum itself as well as the paintings within it. Therefore, the present paper aims at affording a new study of the poetry of the contemporary American poetess Jorie Graham through illuminating the rhetorical device of ekphrasis, which is meant to verbally represent what is already represented visually, and its relation to presentations of the most perplexing concepts in modern and contemporary literature in general and poetry in particular, namely, memory and personal history. The paper is an attempt to investigate how Jorie Graham uses images from painting, photography and films in her poems to manipulate time and represent personal history through memory which, in turn, leads to a consideration of how she uses ekphrasis to approach the ethics of representing public history, and how she uses the different temporal conventions of each genre to write about the past

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Aliverti, Maria Ines. "Major Portraits and Minor Series in Eignteenth-Century Theatrical Portraiture." Theatre Research International 22, no. 3 (1997): 234–54. http://dx.doi.org/10.1017/s030788330001703x.

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In recent years, eighteenth-century actors' portraits have deservedly received growing attention from both art and theatre historians. For its extent, variety and quality, for its social and aesthetic implications, eighteenth-century theatrical portraiture demands a refined theoretical approach: it has helped to create an interdisciplinary field where new methods in dealing with theatre iconography have been profitably deployed. English and American scholars have contributed to develop this field in a specific way, devoting single studies and monographs to portraits of actors. In spite of the importance of French theatrical portraiture, French contributions are less significant. In most cases theatrical portraits are considered exclusively by art historians, and in the context of catalogues or monographs on a single painter. In France the stage portrait is often undervalued: it is relegated to a pictorial genre considered as inferior (tableaux de théâtre), or it is thought to derive from a disreputable theatricalization of history painting; in any case there has been a real difficulty in submitting these images to critical and specific investigation. In short, even if a new approach to theatrical iconography prevails over the strict utilitarianism of the theatre historians, who—in the best cases—sought in actors' portraits only documentary evidence of acting practice, costume or set design, more work has to be done by art historians, to accord theatrical images the independent status of an iconographic text.

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Dissertations / Theses on the topic "Genre painting, American Genre painting, 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 "Genre painting, American Genre painting, American Genre painting"

1

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

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

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

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

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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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Terhune, Anne Gregory. Thomas Hovenden: His life and art. University of Pennsylvania Press, 2005.

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Chelette, Iona M. California grandeur and genre: From the collection of James L. Coran and Walter A. Nelson-Rees. Palm Springs Desert Museum, 1991.

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Book chapters on the topic "Genre painting, American Genre painting, 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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"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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Tharaud, Jerome. "Introduction." In Apocalyptic Geographies. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691200101.003.0001.

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This chapter provides a background on the relationship of religious media and the landscape in the antebellum United States in order to rethink the meaning of space in American culture. It traverses a range of genres and media including sermons, landscape paintings, aesthetic treatises, abolitionist newspapers, slave narratives, novels, and grave markers. It also traces the birth of a distinctly modern form of sacred space at the nexus of mass print culture, the physical spaces of an expanding and urbanizing nation, and the religious images and narratives that ordinary Americans used to orient their lives. The chapter investigates the efforts of Protestant evangelical publishing societies to teach readers to use the landscape to understand their own spiritual lives and their role in sacred history. It talks about the “evangelical space” that ultimately spread beyond devotional culture to infuse popular literature, art, and politics.

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