Relevant bibliographies by topics / Precisionism, American art, American painting, New York

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

Academic literature on the topic 'Precisionism, American art, American painting, New York'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Precisionism, American art, American painting, New York"

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Lapin Dardashti, Abigail. "Abdias do Nascimento in New York." MODOS: Revista de História da Arte 6, no. 1 (2022): 471–93. http://dx.doi.org/10.20396/modos.v6i1.8666899.

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This essay examines the life and work of the Afro-Brazilian activist, politician, and artist Abdias do Nascimento in 1968–70, when he lived in New York City. I argue that, in this new space, Nascimento employed painting as both a vehicle to address his migratory experience and a tool to continue his anti-racism activism. Engaging with African American art both from the 1930s Harlem Renaissance and the 1960s Black Power movement, Nascimento produced images representing transnational Black solidarity within a cultural space that operated beyond national confines. Ultimately, Nascimento’s work un
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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
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Rutkoff, Peter M., and William B. Scott. "Appalachian Spring: A Collaboration and a Transition." Prospects 20 (October 1995): 209–25. http://dx.doi.org/10.1017/s0361233300006062.

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In late October, 1944, the Martha Graham Dance Company performed Appalachian Spring at the Library of Congress, establishing Graham as the master of modern dance. The significance of Appalachian Spring, however, went well beyond Graham's artistic development. Notwithstanding its traditional theme, Appalachian Spring heralded an important shift in American art. Following the Second World War a large segment of New York City artists abandoned the effort, so dominant in the interwar years, to create an explicitly “American” art in favor of a “modernist” aesthetic, best exemplified in abstract exp
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Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.

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This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of cano
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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 inf
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RODRIGUES, LAURIE A. "“SAMO© as an Escape Clause”: Jean-Michel Basquiat's Engagement with a Commodified American Africanism." Journal of American Studies 45, no. 2 (2010): 227–43. http://dx.doi.org/10.1017/s0021875810001738.

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Heir to the racist configuration of the American art exchange and the delimiting appraisals of blackness in the American mainstream media, Jean-Michel Basquiat appeared on the late 1970s New York City street art scene – then he called himself “SAMO.” Not long thereafter, Basquiat grew into one of the most influential artists of an international movement that began around 1980, marked by a return to figurative painting. Given its rough, seemingly untrained and extreme, conceptual nature, Basquiat's high-art oeuvre might not look so sophisticated to the uninformed viewer. However, Basquiat's wor
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Busciglio-Ritter, Thomas. "Paris-on-Hudson." Athanor 37 (December 3, 2019): 59–66. http://dx.doi.org/10.33009/fsu_athanor116676.

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In 1969, a curious picture entered the collections of the Metropolitan Museum of Art, in New York City, as part of a major bequest by American banker Robert Lehman (1891-1969). Identified as a Hudson River Scene, the painting, undated and unsigned, depicts an idyllic river landscape, surrounded by green hills, indeed reminiscent of the Hudson River School. Yet the attribution devised by the museum for might appear curious at first glance, as it does not rule out the possibility of a work produced by a little-known French painter named Victor de Grailly. Born in Paris in 1804, Grailly died in t
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Zuber, Devin Phillip. "Thrilling Vagueness and Pure Abstractions: Swedenborgian Correspondence and Edgar Allan Poe’s Graphicality." Edgar Allan Poe Review 22, no. 1 (2021): 142–66. http://dx.doi.org/10.5325/edgallpoerev.22.1.142.

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Abstract If we are to position Poe’s concept of “graphicality” as hovering at the juncture between the verbal and the visual—a gesture toward painting at the same time that it indicates a literary art of description, or ekphrasis—criticism has tended to overlook the centrality of Emanuel Swedenborg’s so-called “doctrine of correspondences” within American art discourses of the 1830s and ’40s. This essay explores the corresponding Swedenborgian valences behind Poe’s own graphicality, putting his work in context of three critical figures in Poe’s orbit who respectively mediated, to one degree or
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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.

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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the O
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Boylan, Alexis L. "Neither Tramp Nor Hobo: Images of Unemployment in the Art of the Ashcan School." Prospects 30 (October 2005): 433–50. http://dx.doi.org/10.1017/s0361233300002118.

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This short notice, entitled “When a ‘Hobo’ Works,” which appeared in the New York Times, July 13, 1912, might seem overwrought to contemporary readers in its definitive nature. The need to delineate work and nonwork, however, was quite serious business for Americans in the first decades of the 20th century. During this period, as evidenced in newspaper and journal articles, legislation, and popular culture, there was growing apprehension about the perceived differences and slippage among the ideas of the tramp, the hobo, the vagrant, the unemployed worker, and the worker. Most of this conversa
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Dissertations / Theses on the topic "Precisionism, American art, American painting, New York"

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Öhrner, Annika. "Barbro Östlihn och New York : Konstens rum och möjligheter." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-111260.

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The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanism
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Relyea, Lane. "Model citizens and perfect strangers: American painting and its different modes of address, 1958-1965." Thesis, 2004. http://hdl.handle.net/2152/1250.

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Price, Justine Dana. "Abstraction, expression, kitsch: American painting in a critical context, 1936-1951." Thesis, 2007. http://hdl.handle.net/2152/3391.

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This following is a study on abstract painting: the critical reception and analysis of painterly practice--performative, experimental, dissenting--in New York from 1936 to 1951. By metonymy, this study also looks at the figure in the political realm via the critiques offered by socially-oriented critics at this time (some of whom were also art critics). As the boundless secondary literature on this period has noted, the painting of the New York School would "triumph" with "stunning success" by the late 1950s. In other regards, the subject of this dissertation is that of failure. The revolution
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Katzin, Jeffrey James. "Experimentation, diversity, and feeling : Adolph Gottlieb’s career in painting reconsidered." 2013. http://hdl.handle.net/2152/21233.

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Adolph Gottlieb’s (1903–1974) mature career in abstract painting has been described in previous scholarship in terms of three phases: the time of his Pictograph paintings, beginning in 1941; a period of transition primarily involving his Imaginary Landscape paintings, beginning in 1951; and the time of his Burst paintings, from 1956 until his death. Dividing the artist’s career into early, transitional, and late periods has provided scholars with a clear and tidy narrative as a basis for interpretations of his work. However, in this thesis I argue that this schematization, created in hindsight
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Books on the topic "Precisionism, American art, American painting, New York"

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Gerdts, William H. Impressionist New York. Abbeville Press, 1994.

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Painting American: The rise of American art, Paris 1867-New York 1948. Knopf, 2001.

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La Scuola di New York: Origini, vicende, protagonisti. Vita e pensiero università, 2004.

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John, Rosenthal, and North Carolina Museum of Art., eds. New York, New York, recent cityscapes: Paintings by Martha Diamond, Jane Dickson, Yvonne Jacquette, David Kapp. N.C. Museum of Art, 1994.

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New York: Memories of times past. Thunder Bay Press, 2008.

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Street graphics New York. Thames & Hudson, 2003.

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Luke, Felisbret, ed. Graffiti New York. Abrams, 2009.

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New York nocturne: The city after dark in literature, painting, and photography, 1850-1950. Princeton University Press, 2008.

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New York. American paintings in the Metropolitan Museum of Art. The Museum in association with Princeton University Press, 1994.

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O'Keeffe, Georgia. Georgia O'Keeffe: The New York years. Edited by Bry Doris, Callaway Nicholas, and Dijkstra Bram. A.A. Knopf in association with Callaway, 1991.

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Book chapters on the topic "Precisionism, American art, American painting, New York"

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Curtis, Cathy. "New York." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0002.

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Her first stop in New York was the Hans Hofmann School of Art. His precepts and open-minded approach would guide her work from then on. An abandoned industrial loft served as her home and studio. In 1942, the war cast a pall on New York, but exhibitions enabled her to see work by exiled European painters that would have a major influence on her own work. Painter Leland Bell—whom she introduced to his future wife, painter Louisa Matthíasdóttir—convinced her to follow the austere style of Mondrian. Her marriage to a musician, Robert Bass, was an impulsive move that would end in divorce a few years later. In 1944, she became the youngest member of American Abstract Artists. While working at part-time jobs, she would paint all night and party with friends who shared her love for jazz; her painting Lester Leaps was a tribute to Lester Young.
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Curtis, Cathy. "A Taste of Success." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0005.

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In 1956, Nell joined the new Poindexter Gallery. Reviewers praised her first show. The following year, she was awarded a residency at Yaddo (the artists’ colony in Saratoga Springs, New York), meeting poets Jane Mayhall and May Swenson. Afterward, she traveled to Mexico City and Oaxaca, where she worked at night by the light of an oil lamp. On her return, she spent several weeks at the MacDowell Colony in New Hampshire, followed by another stay at Yaddo in December, when her fellow residents were poets Barbara Guest and Jean Garrigue. Nell spent the summer of 1958 in a rented studio in Gloucester. It was there that ARTnews writer Lawrence Campbell visited her to write a major piece about her work on Harbor and Green Cloth, illustrated with photographs by her friend Rudy Burckhardt. A second version of this painting was purchased by the Whitney Museum of American Art.
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