Relevant bibliographies by topics / Painting, American – History

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Painting, American – History'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Painting, American – History"

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Masur, Louis P., and William Ayres. "Picturing History: American Painting, 1770-1930." Journal of American History 81, no. 3 (1994): 1218. http://dx.doi.org/10.2307/2081461.

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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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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.
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Flavin, Francis. "Native Moderns: American Indian Painting, 1940–1960." Western Historical Quarterly 39, no. 1 (2008): 93–94. http://dx.doi.org/10.1093/whq/39.1.93.

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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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Fajardo de Rueda, Marta. "Del Grabado Europeo a la Pintura Americana. La serie El Credo del pintor quiteño Miguel de Santiago." HiSTOReLo. Revista de Historia Regional y Local 3, no. 5 (2011): 191. http://dx.doi.org/10.15446/historelo.v3n5.20655.

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El hallazgo de dos series de grabados flamencos del siglo XVII sobre el tema El Credo, de los artistas Adrian Collaert (1560-1618) y Johan Sadeler (1550-1600), permiten confirmar la importante presencia de los grabados europeos en los talleres de pintura de la América Hispana y su influencia decisiva en la formación de nuestros artistas. Se analizan entonces bajo esta perspectiva, las once pinturas al óleo que conforman la Serie de los Artículos de El Credo, obra del pintor quiteño Miguel de Santiago (1603-1706) que se encuentran en la Catedral Primada de Bogotá desde la época colonial.Palabras clave: Grabados europeos, pintores coloniales, Miguel de Santiago, Quito, Santafé de Bogotá. From European Engraving to American Painting. El Credo Series From The Painter From Quito Miguel de Santiago AbstractThe discovery of two engraving Flemish series from 17th century about El Credo, from the artists Adrian Collaert (1560-1618) and Johan Sadeler (1550-1600), allows proving the presence of European engravings within the painting works in the Hispanic America and the great influence on our artists’ formation. Thus based on this, are analyzed the eleven oil paintings that constitute the Series of Goods from El Credo, from the painter from Quito Miguel de Santiago (1603-1706) that are from the colonial time in the Catedral Primada de Bogotá.KeywordsEuropean engravings, colonial painters, Miguel de Santiago, Quito, Santafé de Bogotá
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Rosen, Deborah A. "Acoma v. Laguna and the Transition from Spanish Colonial Law to American Civil Procedure in New Mexico." Law and History Review 19, no. 3 (2001): 513–46. http://dx.doi.org/10.2307/744272.

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Less than two years after the United States occupied New Mexico, Acoma Pueblo accused its neighbors in Laguna Pueblo of misappropriating a painting of Saint Joseph. The Indians of Acoma claimed that they had loaned the picture to the pueblo of Laguna for the purpose of celebrating Holy Week, but Laguna had subsequently refused to return it. The large oil painting on canvas, which portrayed the standing figure of Joseph holding the baby Jesus, was said to have been sent to New Mexico by Carlos II, king of Spain from 1665 to 1700. Both pueblos claimed rightful ownership of the picture, both said that missionaries with the early Spanish conquerors had brought them the oil painting from Spain, and both asserted that the painting was necessary for their religious worship. It was believed that the painting of Saint Joseph, or San José, as he was referred to throughout the legal documents, worked miracles for its possessor. Most important to the pueblos was the belief that the painting brought life-sustaining rain to the parched agricultural lands that provided their main source of food.
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Burns, Sarah, Annie Cohen-Solal, and Laurie Hurwitz-Attias. "Painting American: The Rise of American Artists, Paris 1867-New York 1948." Journal of American History 89, no. 3 (2002): 1077. http://dx.doi.org/10.2307/3092423.

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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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Dissertations / Theses on the topic "Painting, American – History"

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Pfohl, Katie A. "American Painting and the Systems of World Ornament." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11537.

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This dissertation examines the work of nineteenth-century American painters Frederic Edwin Church, William Michael Harnett and Albert Pinkham Ryder, and focuses on the relationship between their work in painting and their work in the decorative arts. Through their decorative work, all three artists explored "systems of world ornament" that introduced them to an international range of ornamental form by compiling, cataloguing, and comparing ornament from nearly all cultures and eras. Combining all of world culture single folios, these "systems of world ornament" promised to help American artists and designers study and sort a wide range of cultural influences into temporal and geographic order and thus make sense of the increasingly internationalized nature of American material culture. As this dissertation argues, the study of these "systems of world ornament" became for American artists and designers a powerful--if problematic--tool for distilling the increasingly international nature of American art and culture into a material form--and a formal painterly language--that opened it up to comment and critique. Ornament has to a large extent been understood as a mode of retreat rather than engagement with the clean lines and streamlined aesthetic of the twentieth-century, a crust that had to be cleared from painting's surface so that it might embrace the revolutionary potential of the technological and artistic innovations of the twentieth-century, but this dissertation argues the opposite--that ornament crucially informed American painters' attempts to update painting in response to the artistic challenges of increasingly internationalized twentieth-century life.<br>History of Art and Architecture
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Sprinkle, Mark E. "Picturing home: Domestic painting and the ideologies of art." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623460.

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This dissertation describes domestic painting in Atlanta, Georgia between 1995 and 2004 as a market defined by its intentional connection of the ideologies and spaces of art with those of bourgeois domesticity. The first half of the work seeks to contextualize the market's various objects and texts within public and academic discourses on culture that commonly posit an antithesis between the practices of bourgeois women (especially decoration) and "high" or avant-garde art, as suggested by the sentiment, "GOOD ART WON'T MATCH YOUR SOFA." Thus, Chapter 1 addresses the promises and pitfalls of sociological approaches to understanding art in general, Chapter 2 addresses two recent field studies of local markets as examples of how methodological decisions can mask ideological bias, and Chapter 3 discusses the historical context behind the divorce of art and the home as part of the gendering of aesthetic creativity as a predominantly masculine pursuit, each chapter examining the place of the literature itself in the creation of the categories of art. The second part of the dissertation provides an account of the way paintings produced in the market encode its social and spatial relations as a way of visualizing the private home and its interpersonal contents. In Chapter 4, the author proposes intuitive vision to name distinctive visual habits and bodily practices of bourgeois domesticity in contemporary Atlanta, especially the role of artworks in the phenomenological space of the home. Chapter 5 focuses on integration as domestic painting's central quality and goal: the market's various agents are integrated in a coherent social milieu not restricted to art-related roles, but that is, nevertheless, focused through aesthetic experience of the physical and stylistic features of artworks as they, themselves, are integrated into specific domestic settings. Chapters 6 and 7 chart the concrete terrain of 'home-like' spaces devoted to the production and distribution of paintings in the market, while developing the distinction between phenomenological and sight-based representations of domesticity. Finally, the Conclusion returns to the supposed antithesis between avant-garde aesthetics and the various practices known collectively as decoration as a way to address the question, "What is bourgeois art?"
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Iepson, Sarah M. "Postmortem Relationships: Death and the Child in Antebellum American Visual Culture." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236801.

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Art History<br>Ph.D.<br>Since Roland Barthes published Camera Lucida: Reflections on Photography in 1982, the prevailing theory about photography has revolved around its primary role as a manifestation of transience, death, and mortality. Whether one promotes the philosophy that the photographic image steals away the soul and promotes death, or that it simply captures images of those that have died or will die, the photograph has been commonly interpreted as a visual reminder of the finality of human life. At no time does such an interpretation appear to be more tangibly true than during the mid-nineteenth century when the photograph was commonly used to preserve the actual visage of death in post- mortem portraiture. Here, death is not suggested or implied, but is vividly present. However, the theoretical emphasis that Barthes placed on death has limited our understanding of such images by eliding other meanings historically associated with them. As an addendum to Barthes, I propose that post-mortem images - particularly those of children - represent a more complex relationship between life and death as it pertained to nineteenth-century American culture. Moreover, I believe that it is important to consider post-mortem photography in tandem with painted mourning portraiture, and to contemplate both within a larger visual and cultural context in order to gain a more holistic understanding of these images in antebellum America. My dissertation will re-situate post-mortem representations of children within the material and religious culture of antebellum America, amid evolving historical beliefs about the life of children, the concept of childhood, and ideas about child-rearing, not just postmodern theoretical notions of death. My particular focus on children responds to the poignancy of childhood death in antebellum America and the way in which these images particularly embody the belief in continued existence through the afterlife. By placing such images within the wider context of nineteenth-century culture, I will demonstrate that life existed in death for antebellum Americans through the physical or material presence of the photograph along with Christian spiritual associations regarding the soul and the afterlife. In other words, belief in an ongoing relationship between material and immaterial "bodies" was exteriorized in the painted or photographic representation of the physical corpse, enabling antebellum Americans to interpret the image as both the icon and physical residue of the soul. I will demonstrate that the materiality of the post- mortem image allowed antebellum Americans to preserve that sense of life within death. While the material presence of the image acted as a reflection of "being," spiritual beliefs in a heavenly afterlife permitted nineteenth-century viewers to meditate on the perpetuation, rather than the impermanence, of existence. While this complex historical dimension of post-mortem imagery - a dimension largely ignored by Barthes - provides the central focus of my dissertation, I will also analyze how these images were produced, commissioned, displayed, viewed, touched, cherished, and otherwise utilized in antebellum American culture.<br>Temple University--Theses
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Trever, Lisa Senchyshyn. "Moche Mural Painting at Pañamarca: A Study of Image Making and Experience in Ancient Peru." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11013.

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This dissertation is a study of the late Moche murals found within the adobe temples of Pañamarca, Peru (ca. 600-850 CE). This project was designed to redress the problem of iconographic decontextualization of the Pañamarca paintings that, through limited documentation and repetitive scholarly publication, had become effectively untethered from their material moorings and spatial settings. New fieldwork succeeded in contextualizing and conserving remains of all known mural paintings. This field research also resulted in the discovery of a new corpus of paintings at the site. Together these paintings form a case study on image making and visual experience in a Pre-Columbian era without contemporaneous writing. This art historical study of archaeological monuments makes several contextual moves. Most concretely it mounts evidence for the situated experiences of images by ancient beholders. This includes analysis of spatial patterns that governed both visual and kinaesthetic approaches to images, as well as forensic indices of human-image engagement and response through time. The approach is not, however, exhausted by the nested contexts of architecture, archaeology, and geography. Meaning is further established through the discernment of philosophical propositions set forth in the broader corpus of ancient Moche art, material culture, and ritual practice. This work proposes to yield emic perspectives on mimesis, corporeality, and spatiality. An embodied approach to image and space is not merely imported from theory developed elsewhere, but is grounded in the Andean cultural setting at hand. The orthodox Moche imagery of the Pañamarca murals was arrayed in specific, strategic ways in both plazas and private spaces. In some areas life-size paintings may have modeled mimetic performance that perpetually enlivened ritual architecture. Elsewhere densely composed imagery would have enveloped the bodies of ritual practitioners and devotees, as they were absorbed into a private architectural repository of specialized knowledge. This is unusual in the Moche world where the innermost spaces of lavishly decorated temple complexes are themselves usually devoid of painted images. The paintings of Pañamarca are interpreted as efficacious in the articulation, embodiment, and recollection of late Moche ideology and identity as it crystallized on the southern periphery in the Nepeña Valley.<br>History of Art and Architecture
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Asplan, Michael Jay. "PAINTING THE DRAMA OF HIS COUNTRY: RACIAL ISSUES IN THE WORK OF WIFREDO LAM IN CUBA, 1941-1952." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973709584.

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Sikes, Graydon R. "Henry Farny’s Paintings of American Indians, 1894-1916: Images of Conflict Between Indians and Whites Evolve into Symbolic Representations of the Demise of the Western Frontier." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236196493.

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Crouch, Rachael M. "Rhetoric and Redress: Edward Hopper's Adaptation of the American Sublime." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1186602058.

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Elliott, Katherine Lynn. "Epic encounters: first contact imagery in nineteenth and early-twentieth century American art." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/355.

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Since the early nineteenth-century when Americans began recording their short history in earnest, European explorers have held a central role in the nation's historical narrative, standing alongside the Founding Fathers as symbols of American ingenuity, determination, and fortitude. The nineteenth century also saw an explosion in the number of representations of first contacts between native populations and European and Euro-American explorers. These works range from fine art examples to illustrations in the popular media and were produced by artists across the artistic spectrum. Despite the popularity of the First Contact subject and its longevity within American art history, the importance of these images has, as of yet, been unexplored. This dissertation examines First Contact images created in America during the nineteenth and early twentieth-century by artists Robert Walter Weir, George Catlin, Thomas Moran, Albert Bierstadt, and Charles M. Russell. I argue that the subject's popularity can be attributed not just to their importance as depictions of epic moments of transition in national and cultural history, but to the openness, or the mutability, of the subject itself. The first meeting of two people is an event of great possibility and potential, but, as this extended examination of the subject demonstrates, it can also be transformed to communicate vastly different messages at different moments in history. As Americans simultaneously struggled to create a past, understand the present, and visualize the future, the First Contact subject, with its focus on the ambiguous meeting of two cultures, allowed a site in which to grapple with central questions and anxieties of the period, even as it depicted the past. They are thus complicated paintings that speak not to the facts of contact, but to the purposes served by these constructions and corrupted histories. Reading these First Contact paintings can help to illuminate a nineteenth-century understanding of history and also begin to elucidate the troubled legacy of Native/white relations since Columbus first encountered the New World.
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Buhler, Doyle Leo. "Capturing the game: the artist-sportsman and early animal conservation in American hunting imagery, 1830s-1890s." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2447.

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During the last half of the nineteenth century, American sportsmen-artists painted hunting-related images that were designed to promote the ideals of sporting behavior, conservationist thought, and the interests of elite sportsmen against non-elite hunters. Upper-class American attitudes regarding common hunters and trappers, the politics of land use, and the role of conservation in recreational hunting played a significant part in the construction of visual art forms during this period, art which, in turn, helped shape national dialogue on the protection and acceptable uses of wildlife. This dissertation takes issues critical to mid-century American conservation thought and agendas, and investigates how they were embodied in American hunting art of the time. Beginning with depictions of recreational sportsmen during the era of conservationist club formation (mid-1840s), the discussion moves to representations of the lone trapper at mid-century. These figures were initially represented as a beneficial force in the conquest of the American frontier, but trappers and backwoodsmen became increasingly problematic due to an apparent disregard for game law and order. I explore the ways in which market hunting was depicted, and how it was contrasted with acceptable "sportsmanlike" hunting methods. Subsequent chapters consider the portrayal of the boy hunter, an essential feature to the sportsman's culture and its continuance, and the tumultuous relationship between elite sportsmen and their guides, who were known to illegally hunt off-season. The last chapters address the subject of the wild animal as heroic protagonist and dead game still life paintings, a pictorial type that represented the lifestyle of sportsmen and their concern for conservative catches and adherence to game law. Developments in conservation during the period were significantly tied to class and elitist aspirations, and artist-sportsmen merged these social prejudices with their agenda for game conservation. Their representations of hunting art both responded to and promoted the conservationist cause.
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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 "Painting, American – History"

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Mary, Black. American folk painting. Bramhall House, 1987.

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McCoubrey, John W. American tradition in painting. University of Pennsylvania Press, 2000.

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A concise history of American painting and sculpture. IconEditions, 1996.

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Gerdts, William H. Grand illusions: History painting in America. Amon Carter Museum, 1988.

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Painting Texas history to 1900. University of Texas Press, 1992.

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History of western American art. Chartwell Books, 1987.

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Tanaka, Masayuki. American heroism =: Amerikan heroizumu. Kokuritsu Seiyō Bijutsukan, 2001.

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American impressionism. Abbeville Press, 2004.

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American impressionism. Abbeville Press, 1994.

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Peterson, R. D. European and American painting: A reference guide. McFarland & Co., 2004.

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Book chapters on the topic "Painting, American – History"

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Legrás, Horacio. "Inheritances of Carlos Colombino: Painting and the Making of a Democratic Paraguay." In Authoritarianism, Cultural History, and Political Resistance in Latin America. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53544-9_6.

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Baigell, Matthew. "Colonial Art." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-1.

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Baigell, Matthew. "The New Nation." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-2.

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Baigell, Matthew. "Self-Discovery." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-3.

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Baigell, Matthew. "At Home and Abroad." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-4.

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Baigell, Matthew. "Early Modernism*." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-5.

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Baigell, Matthew. "Between the World Wars." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-6.

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Baigell, Matthew. "International Presence." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-7.

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Baigell, Matthew. "Contemporary Diversity." In A Concise History of American Painting and Sculpture. Routledge, 2018. http://dx.doi.org/10.4324/9780429502729-8.

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"‘American’ Landscapes and Erasures: Frederic Church’s The Vale of St. Thomas and the Recovery of History in Landscape Painting." In Perspectives on the ‘Other America’. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042027053_006.

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