Journal articles: 'Painting, American'

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Keeling, Geraldine. "Liszt at the Piano: Two American Pianos and Two American Artists." Studia Musicologica 55, no. 1-2 (2014): 145–56. http://dx.doi.org/10.1556/6.2014.55.1-2.10.

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The image of Liszt at the piano has been a favorite with artists. This article examines two paintings: an 1868 painting of Liszt at a Chickering piano by G. P. A. Healy and a 1919 painting of Liszt at a Steinway piano by John C. Johansen. Due to recent publications, the Chickering painting and its story are fairly well-known. In contrast, the Steinway painting is almost unknown. Healy’s portrait (1868) was done in his studio in Rome as Liszt sat playing for him. While Healy had seen Liszt’s Chickering piano, the instrument in his studio was not that piano and, despite the name “Chickering” on the fallboard, the painting does not faithfully convey the details of Liszt’s Chickering. Johansen’s portrait (1919) was done by an artist who had never met Liszt and almost certainly had never seen his Steinway piano. Because of the Chicago connection, this article proposes that Johansen took his inspiration from Healy.

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Tatham, David, Franklin Kelly, Gerald L. Carr, et al. "American Landscape Painting." Art Journal 50, no. 1 (1991): 102. http://dx.doi.org/10.2307/777098.

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Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.

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This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.

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Gonnen, Noam. "Grounding the Landscape: Epistemic Aspects of Materiality in Late-Nineteenth-Century American Open-Air Painting." Arts 12, no. 1 (2023): 36. http://dx.doi.org/10.3390/arts12010036.

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This article examines how notions of “material” and “materiality” were infused, both technically and discursively, into American landscape painting in the late nineteenth century. Focusing particularly on the praxis of open-air painting as consolidating a new mode in landscape painting as well as a new artistic identity, this article argues that painting outdoors was perceived by artists in terms of agency, uniting painter, painting, and landscape; but unlike earlier romantic or Transcendentalist approaches, this idea was not conceived of as a solely spiritual union but, rather, as a mode that is embedded in the mundane, in the existence of objects, of embodied engagement and material means. The overt affinity between the basic idea of the praxis—painting outdoors in ‘real’ nature—and material aspects of art-making, is discussed as the underpinning of a new emerging episteme of American landscape painting, while considering the environment wherein this phenomenon was cultivated within a specific moment in American culture. Paintings and texts, generated by American painters and critics between the late 1870s and the 1890s, are read in this article through the lens of recent theoretical phenomenological approaches to landscape, illuminating the unique role that materiality played in these representations. Moreover, tying the findings to the changing conceptions of both landscape and art in the Gilded Age, the article concludes that landscape painters of the ‘new generation’ sought to evade commodifying tendencies of image-making by deliberately engaging with materiality, devising a mode of landscape representation that would not succumb to the flattening steamroller of capitalist consumer culture.

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Yurieva, Tatiyana V. "FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 214–20. http://dx.doi.org/10.20323/2499-9679-2020-4-23-214-220.

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The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.

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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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Tatham, David, Albert Boime, Elizabeth Johns, and John Wilmerding. "19th-Century American Painting." Art Journal 51, no. 4 (1992): 95. http://dx.doi.org/10.2307/777290.

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Tassadduq, Sobia, Sadia Sulaiman, and S. Adnan A. Shah Bukhari. "Chronology of societal and Afro-American art evolution in pre (1619-1865) and post (1865-1965) civil war in the US." Liberal Arts and Social Sciences International Journal (LASSIJ) 6, no. 2 (2022): 1–31. http://dx.doi.org/10.47264/idea.lassij/6.2.1.

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This study explores the relationship between the societal integration of African Americans and its influences on the group's art of painting in the pre-and-post-Civil War periods, i.e., from 1619-1865 and 1865-1965, in the United States of America. It seeks to explore a relationship between greater social integration and influences on the artwork of African Americans over time - themes and elements of art, i.e., lines and colours. It draws upon John Dewey’s theory of art as experience and Erwin Panofsky's Thematic analysis (Iconography). The study findings suggest the oppression and exclusion of African Americans in general (in the pre-Civil War period) and its influences on the constrained creativity of the group’s artwork (of painting). However, on the contrary, the findings indicate greater experimentation, uniqueness, and depiction of African identity in post-Civil War period artwork of painting. This coincides with the gradual but ominous social acceptance, educational attainments, and economic success of Afro-Americans in American society during this period. The findings and analysis validate a relationship between the societal transformation of marginalized groups (from exclusion to integration) and influences on groups’ artistic expressions.

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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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Maine, Barry. "The Authenticity of American Realism: Samuel Clemens and George Caleb Bingham “On the River”." Prospects 21 (October 1996): 13–37. http://dx.doi.org/10.1017/s0361233300006475.

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In 1846 in Louisville, Kentucky, John Banvard, a self-taught Missouri painter, exhibited his Three-Mile Painting, a panorama of the Mississippi and Missouri Rivers, painted from hundreds of direct observations and sketches he had executed over a period of many years along the riverbanks. The painting was exhibited by means of a giant pair of rollers upon which the canvas was wound and unwound. Following a successful run in Louisville, the exhibition drew large crowds in Boston and New York City before Banvard capped his triumph with a European tour. In a promotional description of the painting, printed in Boston in 1847 to generate interest in the exhibit, many endorsements testified to the painting's authenticity, including one signed by over one hundred captains and other officers of steamboats who had examined the painting and declared it “correct.” That authenticity and “correctness” were measures of artistic achievement testifies to the premium placed on verisimilitude in art that served as a record of discovery and observation along the American frontier.

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Elliott, Rebecca. "Two Decades of American Painting." International Journal of the Arts in Society: Annual Review 5, no. 2 (2010): 165–72. http://dx.doi.org/10.18848/1833-1866/cgp/v05i02/35827.

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Fleischer, Roland E. "Emblems and Colonial American Painting." American Art Journal 20, no. 3 (1988): 2. http://dx.doi.org/10.2307/1594512.

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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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Garavito, Carla Hernández, and Gabriela Oré Menéndez. "Negotiated Cartographies in the Relaciones Geográficas de Indias: The Descripción de la provincia de Yauyos Toda (1586)." Ethnohistory 70, no. 3 (2023): 351–84. http://dx.doi.org/10.1215/00141801-10443465.

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Abstract In the sixteenth century, the Spanish Crown moved to compile a comprehensive knowledge of its European and American landholdings to materialize the idea of a unified and civilized empire. Peninsular officials sent questionnaires to the Americas, including a request for “paintings” of the urban and natural landscape, without much detail on the project’s guidelines. The varied responses sent back to Spain are known as the Relaciones Geográficas de Indias. This essay investigates the cultural negotiations and potential for Indigenous representations of “depth of place” embedded in one such painting from the Peruvian highland region of Yauyos and Huarochirí. By analyzing colonial-period sources and using spatial modeling, this research underscores the different portrayals of space coexisting on the map. By comparing the painting with contemporary colonial sources, this article examines ongoing negotiations of natural and urban landscapes and an emerging view that synthesized different readings of the same landscape in a period of colonial dislocation and reinvention.

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Haidu, Rachel. "Shapes, Wholes, History: For Benjamin." October, no. 185 (2023): 99–117. http://dx.doi.org/10.1162/octo_a_00495.

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Abstract How can we understand the phrase “Painting After the Subject of History,” which forms the subtitle of Benjamin Buchloh's opus on Gerhard Richter? This essay proposes that that post-subject might be addressed by shapes, rather than figures, closely examining paintings from Philip Guston's celebrated “return to figuration” in the 1970s, when, it is argued, figuration's referentiality is exceeded by the force of Guston's painted shapes. Indeed that force registers as the public dimension of the artist's paintings, addressing an American hellscape, or its unconscious register, populated by images from Kent State, Civil Rights massacres, Vietnam, and more. As Gestalt theorists (Max Wertheimer) and philosophers (Ludwig Wittgenstein) have determined, shapes are respectively “imprinted as wholes” and participate in sign systems––becoming, thereby, not-whole. It is with this ambivalent relation to the sign that Guston's painting explores how shapes can make unconscious forces public. Rather than understanding shapes along a continuum between figuration and abstraction, however, this essay argues that it is Guston's collaborations with poets such as Frank O'Hara that serve as the origin point of his “shape painting.”

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Mou, Yanlin. "The Innovative Development of Russian Modern Oil Painting under the Background of Internet of Things and Artificial Intelligence." Security and Communication Networks 2022 (May 26, 2022): 1–7. http://dx.doi.org/10.1155/2022/6110129.

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Contemporary Russian oil paintings have realized the inheritance and development of classical paintings. Although it is deeply influenced by European and American oil painting creations, it is commendable that it did not fully follow the creative framework of Western works, but realized the image of absorbing the essence of it and then integrating it into Eastern literature and art, and finally formed the integration of Chinese and Western oil paintings in Russian oil painting with a unique creative style. With the continuous development of science and technology, mankind has put forward higher-level requirements for nature, society, science, and technology, and many new things are rising in these aspects. As an emerging industry, Internet of things technology is becoming an important part of modern information technology. It can not only change the way and content of information dissemination and processing but also improve people’s quality of life and meet the growing material and cultural needs of the people. This paper first introduces the basic structure, style characteristics, and development process of Russian modern oil painting, then expounds the application of Internet of things technology and artificial intelligence technology, and then uses the method of questionnaire to investigate the innovation and development of Russian modern oil painting. Finally, the survey shows that senior students know more about Internet of things technology, while applied majors know more than non-applied majors. The grade that knows the least is freshmen, which is related to the degree of exposure to professional knowledge. Students majoring in Russian modern oil painting can share their painting experience through the Internet of things, learn online painting resources through the Internet of things, and add extra income to their part-time painters through the Internet of things. However, due to the Limited breeding technology of students, a small number of students can be part-time online painters, and most students use the Internet of things for knowledge input. Senior students majoring in Russian modern oil painting know more about artificial intelligence, and junior and sophomore students have a general understanding of this field. Through research, the team proposed the innovative development of modern Russian oil painting under the background of Internet of Things and artificial intelligence for reference, and formed our own oil painting creation style by integrating a variety of techniques.

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Isidoro, Martín, and Clelia Domoñi. "La barca en La huida a Egipto: segundo caso documentado en la pintura andina." Sztuka Ameryki Łacińskiej 3 (2013): 107–21. http://dx.doi.org/10.15804/sal201304.

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By discovering in the storage of the Prelature of the Juli’s Matriz Church, a second case of the presence of the boat on the Flight into Egypt in the Andean painting, it has been made a tour though several paintings of this theme broadly – present in that church –. They were analyzed with the methodology of “correspondences” of engravings as graphic sources and have been linked with Latin inscriptions. These Juli’s paintings have served to outline timelines and issues of style about collavina school. Collao’s Painting and sculpture were relevant in colonial South American art (especially the Jesuit Juli’s artistic center), but were not methodically made visible as an autonomous whole. This work is part of a broader objective that is in process: to give solid basis to the problem of Collavino style from case studies, relying on the ‘correspondences’ methodology to achieve greater scientific rigor. The enumeration and systematization of the constituent elements of this school seeks, first, the precise determination of the influences of European schools that served as support for the creation and, secondly, to establish what was the real contribution of American natives to international art history.

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Barinova, Ekaterina V. "Ekphrasis in Sylvia Plath’s Poem “Yadwigha, on a Red Couch, among Lilies”." World Literature in the Context of Culture, no. 14 (20) (2022): 113–19. http://dx.doi.org/10.17072/2304-909x-2022-14-113-119.

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The article provides an analysis of ekphrasis in the poem "Yadwigha, on a Red Couch, among Lilies" by the American poet and writer Sylvia Plath. In the poem, inspired by Henri Rousseau's painting «The Dream», ekphrasis is revealed in the detailed description of the picture, precise transfer into the text of the painting’s imagery and colours. At the same time, emotions, individual perception and accents, characteristic of the poetess’ creative consciousness, are introduced into the detailed description of the painting. The poem is a traditional text for Plath, where the richness of visual images is closely intertwined with personal reflections and experiences.

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Virgoe, April. "Nexus, veil: Robert Ryman and the equivocal spaces of abstraction." Journal of Contemporary Painting 7, no. 1 (2021): 39–59. http://dx.doi.org/10.1386/jcp_00031_1.

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It is now understood that the two great defining points in the history of western painting ‐ the emergence of illusory space in the Quattrocento and its disavowal in the mid-twentieth century ‐ represent significant shifts in a perpetual tide in which pictorial space is re-invented. Outside of modernist teleology, the ‘abstract’ in painting is a malleable term, denoting a tendency, or a move away from, rather than a polemic against depiction. How productively, then, can notions of pictorial space be mapped between ‘abstraction’ and ‘figuration’? In this article, I focus on the work of the American painter Robert Ryman (1930‐2019). Ryman defined his work as ‘realist’ and deployed a materialism that foregrounded the processes of painting. His paintings are both disarmingly simple and spatially complex, and, despite his disavowal of illusion, this complexity is, paradoxically, concerned with the production of pictorial space. I bring together two texts, Hubert Damisch’s A Theory of /Cloud/ and Hanneke Grootenboer’s The Rhetoric of Perspective, to address the complex and contradictory spaces in Ryman’s paintings and to suggest that they enter into a negotiation with a perspective that is something very different to a rebuttal. To look at Ryman again in this way is to offer a rethinking of the paradoxical spaces of abstract painting, its past and its present.

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Luo, Yupan. "Ekphrasis in “The Disquieting Muses” : A Dialogue Between Poetry and Painting." Learning & Education 10, no. 5 (2022): 82. http://dx.doi.org/10.18282/l-e.v10i5.2679.

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The American Confessional poet Sylvia Plath(1932-1963) has created a series of poems based on well-known western  paintings at the early ages of her writing. “The Disquieting Muses” is one of these ekphrastic poems, which depicts the noncommunicative relationship between her and her natural mother. If we approach this poem from the perspective of inter-arts  poetics, that is to say, to analyze the poem side by side with its painting copy, we can discover different approaches of dialogue  between the poem and the painting. This paper is meant to explore unique charm and beauty in ekphrastic literature as well as to  add new perspectives to the study of Plath’s poems.

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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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Vance, William L., and Annette Blaugrund. "American Painting 1889: Internationalism, Nationalism, Individualism." New England Quarterly 64, no. 1 (1991): 137. http://dx.doi.org/10.2307/365903.

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Fagg, John. "Near Vermeer: Edmund C. Tarbell's and John Sloan's Dutch Pictures." Modernist Cultures 11, no. 1 (2016): 86–117. http://dx.doi.org/10.3366/mod.2016.0127.

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This article considers drawings and paintings made by the American artists Edmund Tarbell and John Sloan in relation to the art of the seventeenth-century Dutch Republic. Claims about, interpretations of, and enthusiasm for ‘Dutch Pictures’ were prominent features of the transatlantic artworld in the years around 1900. Art critics, including George Moore, Charles Caffin, James Gibbons Huneker and Frank Jewett Mather, discussed the relationship between historical Dutch painting and contemporary art, while American collectors and museums purchased and displayed large numbers of paintings by Rembrandt, Hals, Vermeer and their contemporaries. The article connects specific seventeenth-century Dutch ideas and objects to such paintings as Tarbell's New England Interior (1906) and Sloan's Scrubwomen, Astor Library (1910–11) and thinks more broadly about modern art's relationship to nationalism and to the past.

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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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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.

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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.

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Vasiliu, O., D. Vasile, F. Androne, M. Patrascu, and E. Morariu. "Between creativity and death: Abstract expressionists and alcohol use disorders." European Psychiatry 41, S1 (2017): S519—S520. http://dx.doi.org/10.1016/j.eurpsy.2017.01.687.

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American Expressionists were a group of American artists who valued free expression of unconscious elements, combining emotional intense expressions with anti-figurative abstract style. Their main place of creative debates was Cedar Tavern in New York City, considered by art critics an important incubator of the Abstract Expressionism. Jackson Pollock, one of the most prominent figures of this movement, suspected of having bipolar disorder, abused alcohol during long periods of his life, for which he even underwent psychotherapy. Unfortunately, he died in a car accident while driving under influence, after decades of innovative work, during which he created a new painting method and produced compositions which are nowadays between the most expensive works of art. Mark Rothko also had periods of heavy drinking, and finally he died by cutting his arms with a razor. He is considered a genius, who created a completely new perspective over painting, and his works are also between the most expensive paintings in the world. Willem de Kooning was affected by alcoholism since his early years, and developed dementia, at least partially induced by abusive drinking. Although affected by neurocognitive disorder, he continued to produce amazingly creative paintings until his final years and in 2016 one of his works obtained the record for the most expensive painting ever sold. Using alcohol as a tool for increasing creativity risks to expose the creator to severe disorders or even death, the subject walking on a narrow line between sublimation of unconscious impulses and tragic resignation before them.Disclosure of interestThe presenting author was speaker for Bristol Myers Squibb and Servier, and participated in clinical research funded by Janssen Cilag, Astra Zeneca, Eli Lilly, Sanofi Aventis, Schering Plough, Organon, Bioline Rx, Forenap, Wyeth, Otsuka Pharmaceuticals, Dainippon Sumitomo.

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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33. http://dx.doi.org/10.2307/3179650.

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Gerdts, William H. "American Landscape Painting: Critical Judgments, 1730-1845." American Art Journal 17, no. 1 (1985): 28. http://dx.doi.org/10.2307/1594412.

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Fu, Albert S. "Shared intelligence: American painting and the photograph." Visual Studies 27, no. 2 (2012): 213–14. http://dx.doi.org/10.1080/1472586x.2012.642973.

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Straine, Stephanie. "Shared Intelligence: American Painting and the Photograph." History of Photography 36, no. 3 (2012): 371–73. http://dx.doi.org/10.1080/03087298.2012.688366.

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Goldberg, Marcia. "Textured Panels in 19th-Century American Painting." Journal of the American Institute for Conservation 32, no. 1 (1993): 33–42. http://dx.doi.org/10.1179/019713693806066492.

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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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Coronel, Patricia. "Native Moderns: American Indian Painting, 1940-1960." Journal of American Ethnic History 27, no. 1 (2007): 90–91. http://dx.doi.org/10.2307/40543264.

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Davis, Mary B. "Through native eyes: American Indians write about their art." Art Libraries Journal 17, no. 4 (1992): 5–12. http://dx.doi.org/10.1017/s030747220000804x.

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During the 20th century, and particularly since its adoption of easel painting, the continuing development of American Indian art has resisted attempts to contain and circumscribe it within definitions and categories imposed by outsiders — art critics, art historians, and the authors of many of the most readily available books on the subject. Native Americans are determined not only to remain in control of their art but also to have a say in how it is interpreted. A bibliography of sources follows an introductory survey of Native American statements about Native American art.

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Key, Joan. "‘Thingly’ forms in Guston Reloaded: Filipo Caramazza at Handel Street Projects." Journal of Contemporary Painting 9, no. 2 (2023): 203–22. http://dx.doi.org/10.1386/jcp_00056_1.

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The paintings by Filippo Caramazza were made during years of protracted expectation of the major retrospective of paintings: Philip Guston Now. Delay was caused by significant debate between major receiving institutions as to their responsibilities when exposing provocative imagery to public view. Potential for misjudgement was a foremost concern in planning publications and installations. As if to manage a sense of deprivation, Caramazza imaginatively substitutes the real paintings, currently withheld, as postcard re-presentations, as if to mark their existence in absentia. The faithful painterly address to detail of image and technique suggest his reverence for the presence of the original works without attempting to replicate their powerful impression. The passive form of copying, a ‘humble address’ to the original paintings, stands in contrast with the authoritative nature of the institutional debate. Much of the concern with public reception of the paintings focused on issues raised by the contemporary ‘Black Lives Matter’ movement and references to the Ku Klux Klan (KKK) within Guston’s work. Effectively the museums decided to acknowledge but defuse problematic content. This article takes the view that the politics of Guston’s paintings address sociopolitical and personal issues generally, as well as formal painterly issues in contemporary American painting. Taking these ideas further, Caramazza’s paintings offer an opportunity to consider how museums shape critical and theoretical narratives in the construction of displays and a consideration of how painting may act as a critical witness.

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Cateforis, Alex. "My Fate is in Your Hand." Undergraduate Research Journal for the Humanities 2, no. 1 (2017): 48–59. http://dx.doi.org/10.17161/1808.23873.

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Yasuo Kuniyoshi (1889-1953) was a Japanese-American émigré artist active and successful in the United States from the mid-1920s until his death. However, despite his artistic achievement and integration into American culture, Kuniyoshi’s life and fate turned tragic as the Pacific War erupted, which intensified extreme racism toward the people of Japanese heritage and increased nationalism in the United States. Kuniyoshi’s 1950 painting My Fate is in Your Hand reveals the artist’s dual and conflicted identity, his social and political fate in the U.S. after Pearl Harbor, and suggests that a year before his death, the artist no longer controlled his fate. A majority of white Americans and the conservative American art world rejected him as an Asian “other.” Kuniyoshi grew weary, stressed, and anxious, an artist caught between success and rejection and his split Japanese and American identity. In this essay, I argue that each major portion of the work’s title— “My,” “Fate,” and “Your Hand”— reveals the symbolic meaning of the painting and suggests the artist’s inner state in 1950. I also analyze four of Kuniyoshi’s earlier works to provide insight into the meaning of My Fate is in Your Hand and to tell the story of the Japanese-American artist.

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Avdeev, Vasilii Aleksandrovich. "Failed Totalitarian Art: English Military Painting of the First World War." Культура и искусство, no. 5 (May 2023): 64–78. http://dx.doi.org/10.7256/2454-0625.2023.5.38241.

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The subject of this article is subjects on the military theme in the paintings of European artists of the first half of the twentieth century.The object of the study is the stylistic and artistic features of painting by British military artists and painters of totalitarian states of the first half of the twentieth century. For the first time in domestic practice, the author offers to consider the unique phenomenon of British military painting of the First World War. She compares Italian aerofuturism, a style adopted by the fascist regime during the Second World War, which is close to her in spirit and connected with her modernist roots. The research was based on the provisions of the domestic author Igor Golomstock, who took the principle of the megamachine of the American historian and philosopher Lewis Mumford as a criterion for determining totalitarian art. The main conclusions of this study are the confirmation of the effectiveness of the Mumford formula in determining the criteria for the belonging of paintings to totalitarian art. At the same time, the considered example of English military painting, created in a democratic state, but bearing obvious features of totalitarian art, raises the question of the unambiguity of the correlation of the latter with the authoritarian form of government. The novelty of this work is the very possibility of familiarizing the domestic reader with the most interesting artistic and spiritual phenomenon - English military painting, closely related to Vorticism, the national trend of modernism, also insufficiently familiar to our public In addition, a wide range of issues related to the art history problem of identifying criteria for totalitarian art is considered

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Li, Jinlin. "A Brief Analysis of Gothic Culture." Learning & Education 10, no. 3 (2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.

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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existence value and derivatives of Gothic culture in The United States.

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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.

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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.

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Fowler, Cynthia. "Herman Trunk’s Cubist Crucifix: A Case Study." Religion and the Arts 15, no. 5 (2011): 628–47. http://dx.doi.org/10.1163/156852911x596264.

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Abstract American modern artist Herman Trunk (1894–1963) serves as a noteworthy case study in a consideration of the relationship between religion and American modern art in the first half of the twentieth century. One of his few overtly religious works, Crucifix (c. 1930), stands out for its intriguing convergence of a most important Catholic subject with Cubist art. This essay examines Trunk’s Cubist Crucifix in relation to other Crucifix and Crucifixion paintings created around the same time period. Trunk’s Crucifix is unique among abstract paintings of religious subjects in the artist’s distinctive use of Cubism to create a quiet meditation on the crucified Christ. In some respects affirming the long tradition of Crucifix and Crucifixion paintings, Crucifix also counters those traditions to provide an alternative perspective on the Crucifix as a subject. Through his Crucifix painting, Trunk successfully brings together two traditions that historically have been viewed as diametrically opposed—Catholicism and Cubist abstraction—to produce a devotional image of the Crucifix as a form of veneration.

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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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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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Yang, Guangyu. "Inheritance and development of national elements in contemporary Chinese, American and Russian oil paintings." Linguistics and Culture Review 5, S2 (2021): 1–15. http://dx.doi.org/10.21744/lingcure.v5ns2.1326.

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When speaking of semiosis of the visual art it is worth noting that it can be considered also in the aspect of semantics, which studies relation of sign elements to the world. Semantic side of an image is related to theory of art content, meaning of creation, spirituality, in particular, the symbol theory. Together with forming the idea of painting as a source of literature data and accordingly understanding of a painting in traditional literature paradigm as source of learning the outside world. The authors of the article demonstrate solidarity of oil painting in the stylistic understanding of the integrity of the image perception through the method of knowledge. In particular, the connection between figurativeness and semeiotics, which arises in the process of painting learning on the basis of literature researching and forming of artistic taste. In the article, it is shown that development of figurativeness in art should be based on art methods, in which literature is defined. Authors clarify that this is the main difference between Chinese painting and similar cultural forms. Practical application of research may be: to form educational programs and develop in integral image of artistic development.

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Mathur, Manisha. "WILLIAM BLAKE- AN ENLIGHTENED VISIONARY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3538.

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William Blake an English painter poet and printmaker is considered as a seminal figure in the history of poetry and visual arts of the Romantic age. In the realm of imaginative painting Blake stands quite alone, and to find any real parallel to this extraordinary man of genius one must go back to the illuminators and sculptors of the twelfth century. Born out of time, with no tradition of imaginative painting to guide him, the intense flame if his genius burns fitfully blazing with an unbearable brilliance. Blake, for his idiosyncratic views is held in high regard by critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterized as part of the Romantic movement are Pre-Romantic for its large appearance in the 18th C. Reverent of the bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French and American Revolutions.

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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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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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Seldes, Alicia M., Jose Emilio Burucua, Marta S. Maier, Gonzalo Abad, Andrea Jauregui, and Gabriela Siracusano. "Blue Pigments in South American Painting (1610-1780)." Journal of the American Institute for Conservation 38, no. 2 (1999): 100. http://dx.doi.org/10.2307/3180041.

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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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Seldes, Alicia M., José Emilio Burucúa, Marta S. Maier, Gonzalo Abad, Andrea Jáuregui, and Gabriela Siracusano. "Blue Pigments in South American Painting (1610–1780)." Journal of the American Institute for Conservation 38, no. 2 (1999): 100–123. http://dx.doi.org/10.1179/019713699806113484.

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Journal articles on the topic 'Painting, American'

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