This book explores the world of American folk art collectors--people who saw the beauty and value of the folk-art portraits, weathervanes, and carvings that mainstream America had hitherto relegated to attics, barns, and dust bins. Although pioneer collectors sought out and preserved objects that are today regarded as icons, little has been known of their motivations, aesthetics, or display techniques. Unlike the mainly white, professional, male collectors of furniture, silver, and other traditional decorative arts who were the subject of Elizabeth Stillinger's classic study The Antiquers, the earliest folk art collectors were a bohemian crowd made up of women, artists, immigrants, oddballs, and outsiders. They were drawn to folk art not by its prestige value but by its artistic, instructive, and ethnological significance. A Kind of Archeology begins by examining the evolution of the concept of folk art, relating it to nineteenth- and early twentieth-century movements such as romanticism, nationalism, arts and crafts, and colonial revivalism. Four sections follow, each presenting a category of collector--antiquarian and ethnologist, modernist, decorator and aesthete, and patriot and nationalist--and offering portraits of individual collectors and dealers. The book closes with the exhibition The Flowering of American Folk Art, 1776-1876, which opened in 1974. The show was so successful that prices shot skyward, and folk objects, after a century of being disregarded, misunderstood, then championed by a few enthusiasts and gradually accepted in a small segment of the art world, finally entered the realm of highly desirable and collectible art.
A landmark publication on American art from 1825 to 1870, this is a significant contribution to our understanding of taste and collecting in America during this period. It presents fifty-five paintings from thirty-eight artists drawn from the New York Historical Society's newly restored and superb collection of narrative art.
By the turn of the century, Americans believed that they deserved their own "school" of art--not simply because they produced quality work, but also because they assumed they were predestined to inherit the mantle of western civilization. In the wake of the Spanish-American War, the U.S. had emerged as a genuine political superpower. The Exposition universelle et international de Paris of 1900--the largest international cultural event in terms of attendance until the New York World's Fair of 1964--was the perfect vehicle for Americans to promote all the richness of a vibrant American culture.
Paris 1900 examines the campaign orchestrated by the federally-sponsored U.S. Department of Fine Arts to prove the existence of a distinct "American school" of art, responding to earlier French criticism that American art was primarily a reflection of the French style. At the 1900 Parisian fair, the McKinley administration's crusade involved installing paintings which exuded "American character," such as images of virile men, wholesome women, pristine landscapes, and technologically supreme cities. Paintings by still-powerful American expatriates were also included: Exhibiting only native themes would have smacked of a provincialism inconsistent with the administration's imperialist agenda.
This campaign was successful; American painters were lavished with medals, and critics enthusiastically sanctioned an "Ecole Am ricaine," as it was to be known in the next century. Yet the legacy of this exposition has remained unnoticed--until now. With its lucid articles and beautiful illustrations, this book examines how the 1900 exposition functioned as a bridge to the twentieth century, creating the conditions for the emergence of the American urban realism and modernism, as well as for New York to eventually displace Paris as the center of the art world.
Featuring over 140 color and black-and-white illustrations, Paris 1900 is a companion volume for a major exhibition of over 80 paintings, sculptures, and decorative art objects to be displayed at the Montclair Art Museum, which opens in September 1999, before traveling to museums in Philadelphia, Columbus, Ohio, and Paris.
The penny bank craze of the twentieth century began quietly enough. Here, a slotted pottery pig from Scotland. There, a grimacing human face made in Bennington, Vermont. In 1793, penny banks first appeared in America, along with the first large copper pennies. Those who mistrusted paper currency saved their "hard" money in vessels of pottery, glass, and tin. In the 1890s, "China Pig" with a slit in his back sold for a dime. Plump pigs and pennies went together like thrift and future success. To this day, these iconic examples of American folk art and vernacular design are prized additions to museum and personal collections throughout the country. Money in the Bank details a wide range of extraordinary still and mechanical banks acquired by Katherine Kierland Herberger, who initially discovered the pleasure and variety of toy banks as gifts for her son. Over 1,200 purchases later, she donated the collection to The Minneapolis Institute of Arts. All are pictured here in full color for the first time. Acclaimed art historian Karal Ann Marling contributes an essay to the book tracing the importance of banks in popular culture, and an introduction narrates Herberger's extensive collecting activities. Money in the Bank is a lavishly illustrated and remarkably comprehensive catalog that demonstrates the charm and whimsy, as well as the significance, of toy banks in America. Corine Wegener is assistant curator at The Minneapolis Institute of Arts. Karal Ann Marling is professor of American studies and art history at the University of Minnesota. Distributed for The Minneapolis Institute of Arts
An American Point of View 18 the most comprehensive study to date on this collection which holds masterpieces of American art from Colonial Times to World War 11 including artists such as John Singleteton Copley. Frederick Edwin Church, Winslow Homer and Edward Hopper. Full--colour reproductions are paired with texts describing the works and placing them in a historical context. In addition to informative analyses of individual masterpieces in the collection. the catalogue includes two longer essays and many photographs of the two museums. The first essay explores the philosophy and experiences of Ambassador Daniel J. Terra. the establishment of his collection. and the creation of his two museums in America, The second essay traces the beginnings of the Giverny museum from 1986 to its opening in 1992 to its evolution over the past ten years with special attention given to Terra's goals. With an introduction written by American art specialist Wanda Corn and previously unpublished information on the selected works of art. this catalogue is a useful tool for scholars of American art, Its numerous reproductions and readable text. make it equally enjoyable as a summary of a major collec
Andy Warhol (1928-1987) is hailed as the most important proponent of the Pop art movement. A critical and creative observer of American society, he explored key themes of consumerism, materialism, media, and celebrity.
Drawing on contemporary advertisements, comic strips, consumer products, and Hollywood's most famous faces, Warhol proposed a radical reevaluation of what constituted artistic subject matter. Through Warhol, a Campbell's soup can and Coca Cola bottle became as worthy of artistic status as any traditional still life. At the same time, Warhol reconfigured the role of the artist. Famously stating "I want to be a machine," he systematically reduced the presence of his own authorship, working with mass-production methods and images, as well as dozens of assistants in a studio he dubbed the Factory.
This book introduces Warhol's multifaceted, prolific oeuvre, which revolutionized distinctions between "high" and "low" art and integrated ideas of living, producing, and consuming that remain central questions of modern experience.
About the series
Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features:
a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
a concise biography
approximately 100 illustrations with explanatory captions