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Relevant bibliographies by topics / Paintings, American

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Academic literature on the topic 'Paintings, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Paintings, 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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Johnson, Dale T., Donna J. Hassler, and H. Barbara Weinberg. "American Paintings and Sculpture." Metropolitan Museum of Art Bulletin 49, no. 2 (1991): 55. http://dx.doi.org/10.2307/3258937.

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Avery, Kevin J., Dale T. Johnson, and Stephen Rubin. "American Paintings and Sculpture." Metropolitan Museum of Art Bulletin 48, no. 2 (1990): 58. http://dx.doi.org/10.2307/3258957.

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Bolger, Doreen, and Donna J. Hassler. "American Paintings and Sculpture." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 53. http://dx.doi.org/10.2307/3259901.

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Sharp, Lewis I., and Oswaldo Rodriguez Roque. "American Paintings and Sculpture." Recent Acquisitions, no. 1985/1986 (1985): 49. http://dx.doi.org/10.2307/1513691.

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Burke, Doreen Bolger. "American Paintings and Sculpture." Recent Acquisitions, no. 1986/1987 (1986): 60. http://dx.doi.org/10.2307/1513710.

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Sharp, Lewis I., Doreen Bolger, Dale T. Johnson, and Carrie Rebora. "American Paintings and Sculpture." Recent Acquisitions, no. 1987/1988 (1987): 52. http://dx.doi.org/10.2307/1513730.

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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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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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Breen, Deborah. "Contingency and Constraint." Transfers 5, no. 3 (2015): 142–45. http://dx.doi.org/10.3167/trans.2015.050312.

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Museum of Modern Art (MoMA) 11 West 53rd Street, New York, NY 10019 http://www.moma.org/interactives/exhibitions/2015/onewayticket/ Admission: USD 25/18/14 “I pick up my life, / And take it with me, / And I put it down in Chicago, Detroit, / Buff alo, Scranton, / Any place that is / North and East, / And not Dixie.” Th ese are the opening lines from “One-Way Ticket,” by African-American poet, Langston Hughes (1902–1967). Th e poem provides the emotional and historical core of the “Migration” paintings by Jacob Lawrence (1917–2000), a series that depicts the extraordinary internal migration of African Americans in the twentieth century. Not coincidentally, the poem also provides the title of the current exhibition of the sixty paintings in Lawrence’s series, on display at MoMA, New York, from 3 April to 7 September 2015.1 Shown together for the first time in over twenty years, the paintings are surrounded by works that provide context for the “great migration”: additional paintings by Lawrence, as well as paintings, drawings, photographs, texts, and musical recordings by other African-American artists, writers, and performers of the early to mid-twentieth century.

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Dissertations / Theses on the topic "Paintings, American"

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Pratt, Stephanie Rose. "The European perception of the Native American, 1750-1850." Thesis, University of Plymouth, 1989. http://hdl.handle.net/10026.1/2748.

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The thesis on which I have based my research proposes that while the European perception of the Native American from 1750 to 1850 came to be mediated via all the visual arts, it was specifically via the graphic media that the proliferation of imagery concerning the Native American developed certain iconic and representational conventions and that these consistently overwhelmed other sources of information, from experience to written interpretation. The ubiquity of certain modes of presentation, of figure-types, and of synecdoches which stood for the Native American (e.g. feather decoration or the tomahawk) resulted almost entirely from graphic methods of visual elucidation. The tyranny of such visual types lies not only in their effective re-constitution of known, familiar imagery but also in the qualitative characterization of the Native American figure. In their reduction of the figure to symbolic and emblematic patterns of content, these few visual tokens belied the greater, complex reality of Native American existence, and left the European perception of it in a static position. It is only through the collation and analysis of all the various modes of visual expression, both graphic and ‘high’ art instances, that these tokens of the visual representation of the Native American can be discerned and their proliferation be analysed as a determinant in the ‘construction’ of the Native American.

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Arana, Emilia. "Eighteenth century caste paintings: The implications of Miguel Cabrera's series." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278537.

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This study examines caste paintings, an art form unique to eighteenth century colonial Mexico. Hundreds of caste paintings were produced, following a compositional template that remained fairly uniform throughout the century. The distinguishing characteristic of these images is their depiction and labeling of Mexico's racially mixed population. A broad discussion of the caste genre places these works in the context of hierarchical colonial society. Focus is on select images by prominent Mexican artist Miguel Cabrera, and the changes Cabrera brings to the caste template. This study places particular emphasis on the women of Cabrera's first two caste paintings, using examples from portraiture and other art forms for contrast. The noble cacique Indian woman of the first image is used as a way to highlight and explore representation of the European and Indian cultures that comprised the major dichotomy of New Spain's social organization.

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Hacker, Jonathan Joseph. "The Visual Creation of the State Apparatus, Nineteenth Century American Landscape Paintings." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556557056790917.

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Routenberg, Scott Kevin. "Americana Suite: A Composition for Full Orchestra, Big Band, and Jazz Chamber Ensembles Inspired by American Master Paintings." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/80.

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Americana Suite is a seven movement musical composition inspired by nineteenth and early twentieth century American master paintings. Representative artists from each of the major schools of American painting include Frederic Church, Winslow Homer, Mary Cassatt, Childe Hassam, George Bellows, Edward Hopper and Georgia O'Keeffe. Essentially pluralist in style, the suite is written for ensembles of varying size and genre, spanning from full orchestra and contemporary big band to intimate jazz chamber ensembles and electro-acoustic hybrids. Four of the seven movements are written for jazz ensembles and incorporate improvisation, while the other three orchestral movements explore romantic, impressionist and cinematic idioms. Historical summaries of each school, artist and painting are followed by detailed aesthetic and theoretical analyses of the respective movements. Harmonica virtuoso Howard Levy performs as a special guest artist.

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Scott, Gabriella Boschi. "Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings." Thesis, The University of Texas at San Antonio, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556588.

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<p> This thesis argues that Mexican painter Enrique Guzmán is a central figure in the transition between the Ruptura movement and postmodernism. Construed by many as a surrealist artist, Guzmán employs idiosyncratic imagery not to probe inner realities, but to explore themes such as abjection and the fragmentation of self into commodity images. Inhabiting the chasm between an oppressive ultra-conservative provincial culture and the turbulent revolutionary ideology of Mexico City of the sixties and seventies, Guzmán articulates, by fusing aesthetic categories such as, among others, the grotesque, the campy and the advertising cliché and exploring language, paradox and gaze, a deconstruction of cultural and political codes by satirizing their interlocking systems of signs and simulacra, initiating a critique of national and personal identity that will later be developed by the Neo-Mexicanists (Neomexicanistas) into a bold denouncement of sexual, socioeconomic and national marginalization.</p>

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Meyers, Julia Isabell. "Prehistoric Wall Decoration in the American Southwest: A Behavioral Approach." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194060.

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Major social and demographic changes occurred during the Pueblo IV Period (AD 1300-1600) in the American Southwest. Small scattered communities aggregated into large settlement centers with more complex social organization during this period. Mural paintings created at this time are dramatically different stylistically from murals created before the social and demographic shift. At Homol'ovi in northeastern Arizona, these mural changes were accompanied by changes in plastering behaviors, including the development of distinct pigment use patterns.The hypothesis of the present study is that the visual performance characteristics of Hopi wall decorations, such as pigment sources, wall plaster colors and mural painting motifs, were part of a complex communicative system that changed as social power relationships changed and new rituals were established to support and legitimize the new social organization.Using inexpensive optical plaster and mural analysis techniques and XRF analysis of pigment samples from the ancestral Hopi sites of Homol'ovi I, Homol'ovi II and Chevelon, this research demonstrates the significance of wall decorations as social and political indicators marking transitions that occurred during the Pueblo IV and contact periods.

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Muente, Tamera Lenz. "Repose, Reflections, and “Girls in Sunshine”: Frederick Carl Frieseke’s Paintings of Women, 1905–1920." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147531632.

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Hefner, Cody Nicholas. "An Evocation of the Revolution: The Paintings of John Trumbull and the Perception of the American Revolution." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1259821977.

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Stark, Heather L. "Nine paintings by Charles Sheeler : a study in the literary and aesthetic influences upon Sheeler's expression of the local /." View Abstract, 2006. http://wwwlib.umi.com/dissertations/fullcit/3220620.

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Donno, Julian. "American Progress - A Foucauldian Discourse Analysis." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21695.

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19th century America is shaped greatly by territorial expansion into NativeAmerican lands. A famous painting which represents this process is called AmericanProgress by John Gast. This study argues that the display of power between the settlersand the Native Americans in the painting mirrors the dominant discourse on 19th centurywestward expansion. So, the analysis is concerned with how the settlers are constructed,how the Natives are displayed and how this results in a power hierarchy. These findingsare then compared to 19th century discourse on the westward movement. The analysis isguided by the methodological tool of Foucauldian discourse analysis. The analytical stepsare informed by the two American Studies scholars Angela Miller and Martin Christadler.The research is based on pragmatism with a leaning towards constructivism. This studyfinds that American Progress contrasts civilisation and nature in similar ways as thisdichotomy is established in the discourse of the 19th century. Westward expansion in thepainting and in 19th century discourse is justified by constructing the Natives as godlessand the settlers as godly. The difference in brightness in American Progress supports thedichotomies of civilisation and nature as well as godliness and godlessness.

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Books on the topic "Paintings, American"

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Babbitt, Sherry. American paintings. Schwarz Gallery, 1998.

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Hall, Audrey. American paintings. Schwarz, 1990.

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National Gallery of Art (U.S.). American naive paintings. National Gallery of Art, 1992.

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Bruce, Weber. American paintings XII. Berry-Hill Galleries, 2005.

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(Gallery), Schwarz Philadelphia. Important American paintings. Schwarz Gallery, 2010.

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Galleries, Berry-Hill. American paintings IX. Berry-Hill Galleries, 2000.

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Weber, Bruce. American Paintings XI. Berry-Hill Galleries, 2003.

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American paintings IV, 1986. Berry-Hill Galleries, 1986.

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Museum, Harvard Art. American paintings at Harvard. Harvard Art Museum, 2008.

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Galleries, Berry-Hill. American paintings VII, 1994. The Galleries, 1994.

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Book chapters on the topic "Paintings, American"

1

Trafton, John. "Civil War Paintings and the War Panorama." In The American Civil War and the Hollywood War Film. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-49702-4_2.

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Ryall, Tom. "Film Noir, American Painting and Photography." In A Companion to Film Noir. Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118523728.ch10.

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Rees, Nathan. "Painting the Promised Land." In Mormon Visual Culture and the American West. Routledge, 2021. http://dx.doi.org/10.4324/9780429295355-4.

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Moncada, Sean Nesselrode. "The Painting Devoured." In New Geographies of Abstract Art in Postwar Latin America. Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-4.

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Alvarez, Mariola V. "Calligraphic Abstraction and Postwar Brazilian Informalist Painting." In New Geographies of Abstract Art in Postwar Latin America. Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-3.

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Bellows, Amanda Brickell. "Oil Paintings." In American Slavery and Russian Serfdom in the Post-Emancipation Imagination. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655543.003.0005.

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After the abolition of serfdom and slavery, Russian and American artists created oil paintings of peasants and African Americans that revealed to viewers the complexity of their post-emancipation experiences. Russian painters from the Society of Traveling Art Exhibitions and American artists including Henry Ossawa Tanner, William Edouard Scott, and Winslow Homer created thematically similar works that depicted bondage, emancipation, military service, public schooling, and the urban environment. Their compositions shaped nineteenth-century viewers’ conceptions of freedpeople and peasants and molded Russians’ and Americans’ sense of national identity as the two countries reconstructed their societies during an era of substantial political and social reform.

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Ikemoto, Wendy N. E. "Opening the Space Between." In Antebellum American Pendant Paintings. Routledge, 2017. http://dx.doi.org/10.4324/9781315162577-1.

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Ikemoto, Wendy N. E. "Putting the “Rip” in Rip Van Winkle." In Antebellum American Pendant Paintings. Routledge, 2017. http://dx.doi.org/10.4324/9781315162577-2.

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Ikemoto, Wendy N. E. "Taking a Contemplative Look." In Antebellum American Pendant Paintings. Routledge, 2017. http://dx.doi.org/10.4324/9781315162577-3.

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Ikemoto, Wendy N. E. "The Missing Pacific." In Antebellum American Pendant Paintings. Routledge, 2017. http://dx.doi.org/10.4324/9781315162577-4.

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Conference papers on the topic "Paintings, American"

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Su´rez, Juan-Luis, Fernando Sancho Caparrini, and Javier de la Rosa Perez. "The Art-Space of a Global Community: The Network of Baroque Paintings in Hispanic-America." In 2011 Second International Conference on Culture and Computing (Culture Computing). IEEE, 2011. http://dx.doi.org/10.1109/culture-computing.2011.17.

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Schuknecht, Karl, and Rogerio Scafutto Scotton. "Automated Surface Preparation of Embraer’s Commercial Jet Fuselage for Painting Process." In AeroTech Americas. SAE International, 2019. http://dx.doi.org/10.4271/2019-01-1339.

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Satterlee, Kent, Robert Kuehn, Carl A. Guy, and Carliane Johnson. "Shell Best Management Practices for Blasting and Painting Offshore Facilities." In SPE Americas E&P Environmental and Safety Conference. Society of Petroleum Engineers, 2009. http://dx.doi.org/10.2118/121052-ms.

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Sadeghipour, E., E. R. Westervelt, and S. Bhattacharya. "Painting green: Design and analysis of an environmentally and energetically conscious paint booth HVAC control system." In 2008 American Control Conference (ACC '08). IEEE, 2008. http://dx.doi.org/10.1109/acc.2008.4587005.

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Appoloni, C. R., M. S. Blonski, P. S. Parreira, and L. A. C. Souza. "Pigments Elementary Chemical Composition Study of a Gainsborough Attributed Painting Employing a Portable X-Rays Fluorescence System." In VI LATIN AMERICAN SYMPOSIUM ON NUCLEAR PHYSICS AND APPLICATIONS. AIP, 2007. http://dx.doi.org/10.1063/1.2710629.

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Virgolino Soares, Joao Carlos, Gabriel Fischer Abati, Gustavo Henrique Duarte Lima, and Marco Antonio Meggiolaro. "Autonomous Navigation System for a Wall-painting Robot based on Map Corners." In 2020 Latin American Robotics Symposium (LARS), 2020 Brazilian Symposium on Robotics (SBR) and 2020 Workshop on Robotics in Education (WRE). IEEE, 2020. http://dx.doi.org/10.1109/lars/sbr/wre51543.2020.9306998.

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Virgolino Soares, Joao Carlos, Gabriel Fischer Abati, Gustavo Henrique Duarte Lima, and Marco Antonio Meggiolaro. "Autonomous Navigation System for a Wall-painting Robot based on Map Corners." In 2020 Latin American Robotics Symposium (LARS), 2020 Brazilian Symposium on Robotics (SBR) and 2020 Workshop on Robotics in Education (WRE). IEEE, 2020. http://dx.doi.org/10.1109/lars/sbr/wre51543.2020.9306998.

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Asgharifar, Mehdi, Joshua Abramovitch, Fanrong Kong, Blair Carlson, and Radovan Kovacevic. "Wettability Enhancement of Aluminum Alloys via Plasma Arc Discharge." In ASME 2012 International Manufacturing Science and Engineering Conference collocated with the 40th North American Manufacturing Research Conference and in participation with the International Conference on Tribology Materials and Processing. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/msec2012-7331.

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The aim of this study is to determine the wettability-enhancing effects of an atmospheric-pressure, direct current (DC) plasma arc discharge on aluminum alloys. Wettability is a critical factor in engineering applications such as biomedical implants, painting, and adhesive bonding. For example, in the realm of adhesive bonding, greater wettability improves a metal substrate’s attraction to an adhesive material, which results in higher bond quality. In this study, the contact angle is determined and compared as a measure of the wettability using two different techniques, the sessile drop and ballistic deposition methods, with water as a test liquid. Additionally, this paper analyzes the impact of different arc discharge parameters, including arc current and plasma torch velocity, on the wettability.

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Rodier, F., J. Malo, H. Ghezzo, and D. Gautrin. "Incidence of Work-Related Respiratory Symptoms during Apprenticeship and Host Factors: Do They Differ in Trainees in Construction-Work and Car-Painting?." In American Thoracic Society 2009 International Conference, May 15-20, 2009 • San Diego, California. American Thoracic Society, 2009. http://dx.doi.org/10.1164/ajrccm-conference.2009.179.1_meetingabstracts.a1647.

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Reports on the topic "Paintings, American"

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Galenson, David. Masterpieces and Markets: Why the Most Famous Modern Paintings Are Not by American Artists. National Bureau of Economic Research, 2001. http://dx.doi.org/10.3386/w8549.

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