This work examines advances in architecture, design, and painting in a region now recognized for its contribution to the Arts and Crafts and Prairie School movements. The work of many well-known American artists is featured, including the architects Cass Gilbert, Harvey Ellis, Frank Lloyd Wright, and Purcell and Elmslie, ceramicist Ernest Batchelder, and the painters Homer Dodge Martin and Alexander Fournier. Illustrated.
As E. H. Gombrich once observed, the still life is compelled to challenge and at the same time perpetuate tradition. Without the elements of recognition and comparison, and the discovery of the familiar in the unfamiliar, the genre would lose most of its meaning. This lavishly illustrated volume documents the extraordinary challenges that artists in California have brought to the tradition of the still life as they have transformed and revitalized the genre over the course of the last century.
In abundantly illustrated essays, as entertaining as they are informative, The Not-So-Still Life traces the great variety of media and forms these artists have engaged as they have moved the still life not just off the table, but off the wall and into three dimensions. Susan Landauer, William H. Gerdts, and Patricia Trenton investigate a range of forces and influences--whether historical, sociological, economic, psychological, or biographical--that have played into this evolution, from the plein-air Impressionism of the early twentieth century to the Synchromist bouquets of Stanton Macdonald-Wright, the revolving table settings of Charles Ray, and the electronic sculptures of Alan Rath. In doing so they deepen our understanding of American art over the last century.
Presenting, interpreting, and celebrating the world-renowned and the lesser-known California artists who have uniquely defined and redefined the still life, this volume offers an exploration of the sensual pleasures, the aesthetic challenges, and the intellectual and perceptual associations of a century of art through the prism of a single genre.
An anthology of works owned by a private collector, comprising of 400 pieces of art, by 236 artists. It communicates the joy and pleasure derived from the people encountered along the way, the lessons learned, and the satisfaction gained from increased knowledge and insight.
Porcelain has been made in Worcester since 1751 and the factory's products are still amongst the most keenly collected English porcelain today. Unlike many other porcelain factories established in Britain from the mid-eighteenth century, Worcester produced a wide range of domestic and ornamental pieces, catering to an elite market of aristocrats and landowners, many of whom were newly wealthy and keen to display their prosperity.This beautiful book showcases over 100 of the most important and attractive pieces of eighteenth-century Worcester porcelain in the collection of the British Museum. They date from the period 1751-83, from the factory's founding by Dr. John Wall to a few years after his death in 1776. Its particular strengths are its dated pieces, as well as many decorated in London at the famous Soho workshop of James Giles. It also includes early pieces closely based on Chinese and Japanese porcelains, examples of the charming blue and white painted or printed wares, and many of the characteristic and sought-after pieces painted with flowers and birds against a dark blue ground. Many of the pieces are fully illustrated in color here for the first time. A concise overview of the Worcester factory and its production methods in the eighteenth century is followed by superb illustrations and informative texts, including new research about each of the featured pieces, making this book both an enlightening introduction to the subject for the non-specialist and an essential reference for the collector.
Green Woods and Crystal Waters examines American landscape painting in the second half of the 20th century through the works of 89 artists. Keeping the city at a safe distance, it focuses on the pastoral views and dramatic wilderness that have provided such a powerful American subject for over two centuries. Formally and expressively diverse, the works range from the objective depiction of the physical appearance of nature to the romantic or mystical use of landscape as a vehicle for poetic and spiritual concerns to the expressionist's reshaping of nature to follow the curvature of interior moods. Each of these very different approaches is central to our visual tradition and has colored our portrayals of the landscape.
In Revisionist Art, Bob Dylan offers silkscreened covers of popular magazines from the last half century that somehow escaped history's notice. As Luc Sante says in his introduction to this collection, they seem to emanate, "from a world just slightly removed from ours--a world a bit more honest about its corruption, its chronic horniness, its sweat, its body odor." Art critic B. Clavery provides a history of Revisionist Art, from cave drawings, to Gutenberg, to Duchamp, Picasso, and Warhol. The book also features vivid commentaries on the work, (re)acquainting the reader with such colorful historical figures as the Depression-era politician Cameron Chambers, whose mustache became an icon in the gay underworld, and Gemma Burton, a San Francisco trial attorney who used all of her assets in the courtroom. According to these works, history is not quite what we think it is.Praise for Revisionist Art "Revisionist Art may be the strangest move Dylan has made in a long while, but it's also his most brilliantly uproarious foray into full-blown comedy." --Rolling Stone, four-star review
An examination of the pioneering Caribbean and Latin American artists who resided in New York prior to WWII and shaped the American avant-gardeBetween 1900 and 1942, New York City was the site of extraordinary creative exchange where artists could share ideas in a global context. The swiftly changing urban landscape before and between the World Wars inspired the erosion of artistic boundaries and fostered a new climate of modernist experimentation. Nexus New Yorkfocuses on key artists from the Caribbean and Latin America who entered into dynamic cultural and social dialogues with the American-based avant-garde and participated in the development of a new modern discourse. Featuring both celebrated and little-known figures of this period, including Carlos Enr quez, Alice Neel, Marius de Zayas, Francis Picabia, Joaqu n Torres-Garcia, Jos Clemente Orozco, Matta, and Robert Motherwell, contributing authors also discuss the specific environments in which they flourished, including the Art Students League, the Siqueiros Experimental Workshop, and the New School for Social Research. A fascinating look at 20th-century modernism, this book provides the first view of the important encounters between artists of the Americas.