Academic literature on the topic 'Narrative painting, American'
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Journal articles on the topic "Narrative painting, American"
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CELINSKA, DOROTA. "Painting a portrayal of narrators with learning disabilities from two narrative perspectives." Applied Psycholinguistics 35, no. 4 (2012): 649–75. http://dx.doi.org/10.1017/s0142716412000537.
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ABSTRACTTwo narrative perspectives, high point analysis and episodic analysis, were used to compare the ability of narrators with and without learning disabilities to fulfill the referential and evaluative narrative functions. The participants were 82 students with learning disabilities and their typically achieving peers matched on age, grade, gender, and ethnicity. The participants (48 Caucasian, 34 African American) attended urban and suburban schools (Grades 4–7). Narratives were collected within the context of a naturalistic conversation. The findings across the two narrative perspectives showed areas of incongruence in specific narrative competencies. While these findings expand the portrayal of narrators with learning disabilities, they also imply the impact of using specific narrative analyses and genres for the narrative assessment and intervention outcomes.
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Bearden, Elizabeth. "Painting Counterfeit Canvases: American Memory Lienzos and European Imaginings of the Barbarian in Cervantes's Los trabajos de Persiles y Sigismunda." PMLA/Publications of the Modern Language Association of America 121, no. 3 (2006): 735–52. http://dx.doi.org/10.1632/003081206x142850.
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I propose a new reading of the intersection of image and text as a site for reworkings of barbarian identity in Miguel de Cervantes Saavedra's last work, Los trabajos de Persiles y Sigismunda: Historia setentrional (1617). Through narrative manipulations of the half–barbarian character Antonio el mozo's relation to painting, Cervantes crafts complex interrelations among American pictographic language, European alphabetism, and colonial models of barbarian identity to demonstrate the adaptability and ingenuity of indigenous people. I analyze the function of ekphrastic passages that reflect American pictographic language and demonstrate the influence of Mexican painting on the literature of the Spanish golden age. Descriptions of paintings in the Persiles ultimately provide a metafictional critique of European paradigms of graphic representation and challenge the authority of European colonial rationalizations of power dynamics in the New World. (EB)
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Matsumura, Kimiko. "“We Who Are Enemy”: Incarceration Redress in the Paintings of Roger Shimomura." Asian Diasporic Visual Cultures and the Americas 5, no. 1-2 (2019): 129–54. http://dx.doi.org/10.1163/23523085-00501007.
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This article establishes historically specific connections between American artist Roger Shimomura’s paintings about Japanese American Incarceration and Incarceration Redress from roughly 1978 to 2003. Deploying a kind of history painting in the Minidoka series before turning to personal narrative in Diary and the juxtaposition of contrasting visual tropes in Stereotypes and Admonitions, Shimomura’s varying approaches reflect connections to timely emphases on raising awareness, sharing testimony, and preventing reoccurrences associated with significant moments in the detainment’s afterlife. Throughout these shifts in focus, Shimomura’s use of visual stereotype increasingly frames incarceration within its broader social meaning, rather than through its historical progression or its personal resonances. I show how Shimomura’s work comes to connect incarceration to its enduring social consequences, making it but one of many recent, racially motivated transgressions that provide greater lessons about the perpetuation of naturalized prejudice in the United States and its material effects.
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Stolte, Sarah Anne. "Hustling and Hoaxing: Institutions, Modern Styles, and Yeffe Kimball’s “Native” Art." American Indian Culture and Research Journal 43, no. 4 (2019): 77–92. http://dx.doi.org/10.17953/aicrj.43.4.stolte.
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This article considers the artistic career of self-identified Osage painter Yeffe Kimball (1906–1978). Following the stylistic trends of modern American Indian painting as largely defined by non-Native critics and a male-dominated art world, Kimball’s works were accepted into major exhibits. How Kimball was able to “pass” as an American Indian artist is the core of a larger narrative—one that demonstrates and provokes critique of how her fraud took advantage of, but also contributed to strengthening, an exclusionary, devaluative settler-colonial dynamic of expropriation that continues into the present. This article critiques the manner in which museums and art schools defined societal values of “Indianness” that marginalized Native artists. Examining Yeffe Kimball’s successful ethnic fraud affirms a patriarchal, assimilationist narrative and the extent to which European-American identities, institutions, and art practices control American Indian imagery.
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Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.
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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
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Clarke, David. "The All-Over Image: Meaning in Abstract Art." Journal of American Studies 27, no. 3 (1993): 355–75. http://dx.doi.org/10.1017/s0021875800032072.
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It is the contention of Clement Greenberg that the development of modern painting can be seen as a self-critical process whereby this art entrenches itself more firmly in its area of competence. The area of competence of each art, according to Greenberg, coincides with all that is unique to the nature of its medium. Each art form, then, has an essence (albeit one which is only revealed over time) and the constitutive limitations peculiar to painting are considered by Greenberg to be “the shape of the support, the properties of pigment” and above all “the flat surface.” At first sight such a formalist perspective appears to have the advantage of being able to offer an overall picture of the development of modern painting, a unified narrative leading from Manet to American abstract artists of Greenberg's own time, such as Jules Olitski. I shall be arguing here, however, that a clear gestalt is provided by Greenberg's theory only at the cost of eliminating consideration of meaning in art. My point is not that Greenberg gives too much attention to form and not enough to content, and that therefore we merely need to balance the scales. Simply to supplement Greenberg's discussion of the formal aspects of artworks with a consideration of their content would be to accept implicitly the strong division between these two aspects which he makes. It is that very separation which I am contesting: I do not believe that it is possible to make worthwhile statements about form whilst considering it, as Greenberg does, in a vacuum.
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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.
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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.
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Giusti, Giulio L. "Pictorial Imagery, Camerawork and Soundtrack in Dario Argento’s Deep Red." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 159–79. http://dx.doi.org/10.1515/ausfm-2015-0021.
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Abstract This article re-engages with existing scholarship identifying Deep Red (Profondo rosso, 1975) as a typical example within Dario Argento’s body of work, in which the Italian horror-meister fully explores a distinguishing pairing of the acoustic and the iconic through an effective combination of elaborate camerawork and disjunctive music and sound. Specifically, this article seeks to complement these studies by arguing that such a stylistic and technical achievement in the film is also rendered by Argento’s use of a specific art-historical repertoire, which not only reiterates the Gesamtkunstwerk-like complexity of the director’s audiovisual spectacle, but also serves to transpose the film’s narrative over a metanarrative plane through pictorial techniques and their possible interpretations. The purpose of this article is, thus, twofold. Firstly, I shall discuss how Argento’s references to American Hyperrealism in painting are integrated into Deep Red’s spectacles of death through colour, framing, and lighting, as well as the extent to which such references allow us to undertake a more in-depth analysis of the director’s style in terms of referentiality and cinematic intermediality. Secondly, I will demonstrate how and to what extent in the film Argento manages to break down the epistemological system of knowledge and to disrupt the reasonable order of traditional storytelling through the technique of the trompe-l’oeil in painting.
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Vorotnikova, Anna E. "Ekphrasis in the Poem «Snakecharmer» by S. Plath." Proceedings of Southern Federal University. Philology 2020, no. 4 (2020): 128–36. http://dx.doi.org/10.18522/1995-0640-2020-4-128-136.
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The article studies singularity of the ekphrasis in the poem «Snakecharmer» by the American poetess Sylvia Plath inspired by the same-name picture by the French painter Henri Rousseau. Plath gives new meanings to the painting and creates her own version of cosmogonic and eschatological myth entering into a dialogue and a contest with the previous cultural tradition. Verbally transformed Rousseau’s images manifest their multi-layered ambivalent character. The main character in the picture by H. Rousseau is depicted with masculine features in the poem. The gender metamorphosis happening to the Snakecharmer is analysed in the context of the whole writer’s biography of S. Plath. It is concluded that the central figure, symbolically embodying the idea of creativity as it is, has androgynal nature. The narrative structure of the poem is defined by the root principle of the ekphrastic conception of «Snakecharmer» – the principle of dialectical unity of polar beginnings: orderliness and chaos, the Apollonian statics and the Dionysian dynamics, scenic formalization and musical fluidity.
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Yakimovich, Alexander K. "Film Art Against Avant-Garde? On the Onthology of Artistic Means." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 8–26. http://dx.doi.org/10.17816/vgik1028-26.
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The first decade of the 20th century witnessed two revolutions in the world of arts: firstly, the upcoming of Avant-Garde art, and secondly - the birth of cinematic art. In painting, architecture and literature new revolutionary languages actually finalized the process of onthologisation which has begun much earlier. ttis process signaled its appearance with Modernity itself and reached its climax in the late 19 th century. We can observe since then a new species of artists whose artworks actually defy ideological meanings. Meanings and messages of artworks clearly distance themselves from convictions shared by authors. Visual and verbal arts as well as important strata of musical and theatrical productions embrace the discourse of Nature and Universe (i. e. primary components of Being). Avant-garde art makes the final accent in this development of Modernity. tte newly born film art seems to compensate functions ignored or denied by other artistic activities. Cinematic productions start realizing the human and cultural tasks (ideological propaganda, sentimental comfort, entertainment and other social functions). Elite-bound taste and high cultural pretentions seemingly fall out in early cinema. tte break-through in film art reaches its peak around 1910 parallel to the upheaval of Early Avant-Garde in painting. Handling of camera, constructing of visual field, as well as experimental boundlessness in space-and-time transformations bring the socially acceptable film narrative to the kind of onthological explosion on screen. In fact, film language itself (independently from any ideology or sociability) develops new methods of seeing. A decade before film art would enter its stormy marriage with Surrealism, masters of the screen already detected ways of hypnotic charm and irrational hurricane passing before our eyes. As examples of such inherent onthologization of means in film art we can see the structure itself of the picture and deliriumlike narration in several early films, i. e. Cabiria directed by Italian Giovanni Pastrone in 1914 as well as American masterpiece of 1915 - The Birth of a Nation by D.W. Griffith.
Dissertations / Theses on the topic "Narrative painting, American"
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Dixon, Erin. "Parables." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04252008-135822/.
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Thesis (M.F.A.)--Georgia State University, 2008.<br>Joseph Peragine, committee chair; Teresa Bramlette-Reeves, Cheryl Goldsleger, committee members. Title from file title page. Electronic text (25 p. : col. ill.) : digital, PDF file. Description based on contents viewed Aug. 14, 2008. Includes bibliographical references (p. 16).
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Turbuck, Christopher James. "Personal Narratives." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/turbuck/TurbuckC0508.pdf.
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This body of work is comprised of autobiographical narratives from my everyday experiences. The conflict in the stories comes both from without and within: awkward, frustrating situations force perplexed responses from the protagonist (me) even as I struggle to maintain internal balance between combative contradictory thoughts and impulses. I adopt many conventions from comic books. They allow me to freely incorporate text and image into the same pictorial space. Additionally, the comic book form possesses associations with \"low art\" that are valuable to my work. Comics are entertaining and non-threatening - they are perceived as childish and frivolous, and are accessible to a mass audience. I use the formal devices of comic books to raise the viewer/reader\'s expectations for a lighthearted, juvenile form of entertainment. However, once the viewer/reader examines the work more closely, I give them something else: a new way of looking at regular life that reveals the profound in the ordinary; a chance to identify with my awkward, deeply personal experiences; a quiet note of encouragement that none of us is truly alone.
Books on the topic "Narrative painting, American"
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Gerdts, William H. Grand illusions: History painting in America. Amon Carter Museum, 1988.
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1927-, Leslie Alfred, Shapiro David 1947-, and St Louis Art Museum, eds. Alfred Leslie: The killing cycle. Saint Louis Art Museum, 1991.
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Edwards, Jim. Evidence: Contemporary narrative painters of the Southwest, June 24-September 17, 1989, San Antonio Museum of Art. San Antonio Museum Association, 1989.
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Dines-Cox, Elaine K. Everydayland: Imagined genre scene painting in southern California : Laguna Art Museum, Laguna Beach, California, September 1, 1988-October 23, 1988. The Museum, 1988.
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Grand themes: Emanuel Leutze, Washington crossing the Delaware, and American history painting. Pennsylvania State University Press, 2012.
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1951-, Butler Charles T., Southeastern Art Museum Directors Consortium., Columbus Museum (Columbus, Ga.), Tampa Museum of Art, and J.B. Speed Art Museum., eds. Tales from the easel: American narrative paintings from southeastern museums, circa 1800-1950. University of Georgia Press, 2004.
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Susan, Danly, ed. Telling tales: Nineteenth-century narrative painting from the collection of the Pennsylvania Academy of the Fine Arts. American Federation of Arts, 1991.
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Jerome, Witkin, ed. Life lessons: The art of Jerome Witkin. Syracuse University Press, 1994.
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Anselm, Aiken Edward, Kuspit, Donald B. (Donald Burton), 1935-, Selz Peter 1919-, et al., eds. Drawn to paint: The art of Jerome Witkin. Syracuse University Art Galleries, 2011.
Find full textBook chapters on the topic "Narrative painting, American"
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Carico, Aaron. "The Spectacle of Free Black Personhood." In Black Market. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655581.003.0003.
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This chapter examines the aesthetics and politics that inform modes of realism increasingly used to represent Black Americans in the late nineteenth century. Beginning with a trompe l’oeil painting that depicts a Black boy playing soldier (Attention, Company! by artist William Harnett), read alongside sections of Frederick Douglass’ narratives and the mass-reproduced image of Gordon the slave, this chapter also surveys a Brooklyn park that was remade into a cotton plantation as part of the immersive performance called Black America. Each of these texts conjures the “free” Black body as a sensuous object for white consumption. This racialized dynamic is linked to segregation through an analysis of the eponymous protagonist of Mark Twain’s novel Pudd’nhead Wilson and a history of the anonymous subject of Harnett’s painting. Focusing on the logic of realism as it intersects with the ideologies of liberalism and of Jim Crow segregation, this chapter exposes how free black personhood was turned into a form of commodity spectacle.
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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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Munson, Kim A. "Co-Mix and Exhibitions: Interview with Art Spiegelman." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0040.
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This chapter includes a 2017 interview conducted by art historian Kim A. Munson with Pulitzer prize winning cartoonist Art Spiegelman about his touring retrospective Co-Mix, exhibition strategies, Masters of American Comics, narrative in exhibits relating to Maus and R. Crumb’s Genesis, Hogarth’s Marriage A-la-Mode paintings, the wordless comics of Si Lewen, and the flattening of art history.
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Gaines, M. C. "Narrative Illustration: The Story of the Comics." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0008.
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This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.
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Wong, Hertha D. Sweet. "Peter Najarian’s Illustrated Memoirs." In Picturing Identity. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640709.003.0002.
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This chapter discusses Peter Najarian’s illustrated memoirs, autobiographical narratives in book format that incorporate drawings, paintings, and photographs: Daughters of Memory, The Great American Loneliness, and The Artist and His Mother. The son of a survivor of the Armenian Genocide, Najarian filters the story of his Armenian American family and community through Western art and literature, depicting his legacy of transgenerational trauma. In his assemblage of texts and images, Najarian grapples with the complex issues of representation, memory, history, and subjectivity, forcing readers to look anew.
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Modigliani, Leah. "Jeff Wall’s Picture for Women (1979) and The Destroyed Room (1978): colonizing the space of gendered discourse." In Engendering an avant-garde. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526101198.003.0002.
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This analysis of two of Jeff Wall's most important early photographic transparencies highlights the fact that his subject matter can be understood as a male artist's control of what is imagined as female-gendered physical and theoretical space. The initiation and subsequent extension of this operation in European and American critical discourse about his work is discussed in relationship to anthropological research on settler colonial societies’ territorial conflicts; specifically settlers’ need to develop cultural narratives that rationalize their control over other populations within a given geographic area. Such an approach contrasts with the prevailing commentaries by other critics, some of which are discussed at length (Donald Kuspit, Arielle Pélenc, Kaja Silverman and Michael Fried). These critics’ analyses of Wall’s work downplay or ignore the feminist subject matter in the work in favour of discussing the images' relationship to the avant-garde potential of technical reproduction or to the history of modern painting.
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Bernier, Celeste-Marie, Alan Rice, Lubaina Himid, and Hannah Durkin. "‘Safety and danger and how to tell the difference’: Suffering, Struggle and Survival in Plan B (1999)." In Inside the invisible. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620856.003.0008.
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‘In 1997 I began to work on a series which was exhibited at Tate St Ives in 1999/2000 – Plan B. The work brought out the theme of safety and danger and how to tell the difference’, Lubaina Himid writes of this series which is the subject of this chapter. ‘What is better, to be stuck in what looks to the outside world to be a safe place but is in fact [a] dangerous place, for ever’, she asks, ‘or to venture into what is a dangerous place but have the free will to find safety’. Debating issues related to physical and psychological confinement versus liberation for African diasporic peoples fighting to survive the prejudices and persecutions of white supremacist western nations, Himid took inspiration for her title for this series from African American writer Chester B. Himes’s ‘violent’ unfinished novel Plan B, published posthumously in 1993. As per his provocative narrative in which the US nation functions as the quintessential ‘dangerous place’ for Black people trying to survive against all odds, she confirms that ‘[t]he paintings recall terrifying experiences related through desperate narratives across the centuries by runaway slaves, escaping hostages, fleeing migrants, bombed communities and battered women’. As the protagonists in Himes’s novel face life-and-death situations, so Himid argues, ‘The work exposes the dilemma of deciding whether to endure the dangers of a current violent situation or risk life-threatening events during the process of escape’. Working beyond Himes’s subject matter to destabilise temporal boundaries and interrogate competing historical contexts, Himid dramatises the tragedies and traumas experienced by ‘runaway slaves, escaping hostages, fleeing migrants, bombed communities and battered women’. She represents and reimagines narratives of slavery and freedom, memories of war and peace and testimonies of domestic and national violence. Himid uses this series to ask and answer a question: ‘Is the inside you know more dangerous to you than the outside you don’t know?’ Here she comes to terms not solely with the corporeal wounding but with the emotional suffering facing past, present and future Black diasporic peoples as a catalyst for her – and by extension their – radical formulation of a new ‘Plan B’ in which she and they endorse radical practices of resistance and revolution.