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Home / What Type of Art Was Prevalent in America Prior to the First World War?

What Type of Art Was Prevalent in America Prior to the First World War?

Or American art is visual art made in the Us or by US artists

Visual fine art of the The states or American fine art is visual fine art made in the The states or by U.Southward. artists. Before colonization at that place were many flourishing traditions of Native American art, and where the Castilian colonized Spanish Colonial compages and the accompanying styles in other media were quickly in identify. Early colonial fine art on the East Declension initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the belatedly 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were too established in the major cities, merely in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.

But in the after 18th century two U.S. artists, Benjamin W and John Singleton Copley, became the well-nigh successful painters in London of history painting, and so regarded every bit the highest form of fine art, giving the first sign of an emerging force in Western fine art. American artists who remained at dwelling became increasingly skilled, although there was little awareness of them in Europe. In the early 19th century the infrastructure to train artists began to be established, and from 1820 the Hudson River School began to produce Romantic mural painting that was original and matched the huge scale of U.S. landscapes. The American Revolution produced a demand for patriotic art, especially history painting, while other artists recorded the frontier country. A parallel development taking shape in rural U.S. was the American craft motion, which began as a reaction to the industrial revolution.

After 1850 Bookish art in the European style flourished, and equally richer Americans became very wealthy, the flow of European art, new and old, to the US began; this has continued e'er since. Museums began to exist opened to brandish much of this. Developments in modern art in Europe came to the U.Southward. from exhibitions in New York City such as the Armory Show in 1913. After Globe War Ii, New York replaced Paris as the centre of the fine art earth. Since and so many U.Southward. movements have shaped Modernistic and Postmodern art. Fine art in the Us today covers a huge range of styles.

Ancestry [edit]

One of the get-go painters to visit British America was John White (c. 1540 – c. 1606), who made important watercolor records of Native American life on the Eastern seaboard (now in the British Museum). White get-go visited America equally the artist and map-maker for an trek of exploration, and in the early years of the Colonial period most other artists trained in Western styles were officers in the ground forces and navy, whose training included sketching landscapes. Eventually the English settlements grew large enough to support professional artists, more often than not portrait-painters, often largely self-taught.

Among the primeval was John Smybert (1688–1751), a trained artist from London who emigrated in 1728 intending to be a professor of fine art, but instead became a portrait painter and printseller in Boston. His friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had shops. Meanwhile, the Spanish territories later to be American could come across mostly religious art in the belatedly Baroque style, mostly by native artists, and Native American cultures continued to produce art in their various traditions.

Eighteenth century [edit]

Afterward the Declaration of Independence in 1776, which marked the official first of the American national identity, the new nation needed a history, and part of that history would be expressed visually. Nigh of early American fine art (from the late 18th century through the early 19th century) consists of history painting and especially portraits. As in Colonial America, many of the painters who specialized in portraits were substantially self-taught; notable among them are Joseph Badger, John Brewster Jr., and William Jennys. The young nation's artists generally emulated the style of British fine art, which they knew through prints and the paintings of English-trained immigrants such as John Smibert (1688–1751) and John Wollaston (active 1742–1775).[2]

Robert Feke (1707–1752), an untrained painter of the colonial period, achieved a sophisticated style based on Smibert'due south instance.[3] Charles Willson Peale, who gained much of his earliest art preparation by studying Smibert's copies of European paintings,[four] painted portraits of many of the important figures of the American Revolution. Peale'due south younger brother James Peale and six of Peale's nieces and sons— Anna Claypoole Peale, Sarah Miriam Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. Painters such as Gilbert Stuart fabricated portraits of the newly elected government officials,[one] which became iconic later being reproduced on various U.S. Stamp stamps of the 19th century and early 20th century.[v]

John Singleton Copley painted allegorical portraits for the increasingly prosperous merchant class, including a portrait of Paul Revere (ca. 1768–1770). The original version of his nearly famous painting, Watson and the Shark (1778), is in the collection of The National Gallery of Art[6] while there is some other version in the Boston Museum of Fine Arts and a third version in the Detroit Constitute of Arts. Benjamin W painted portraits also as history paintings of the French and Indian State of war. West also worked in London where many American artists studied under him, including Washington Allston,[seven] Ralph Earl, James Earl,[viii] Samuel Morse, Charles Willson Peale, Rembrandt Peale, Gilbert Stuart, John Trumbull, Mather Chocolate-brown, Edward Savage and Thomas Sully.[9] John Trumbull painted big battle scenes of the Revolutionary War. When landscape was painted it was most often done to evidence how much property a subject owned, or as a picturesque groundwork for a portrait.

Selection of works by early American artists [edit]

Nineteenth century [edit]

National Gallery of Fine art, Washington DC.

The first well-known U.S. school of painting—the Hudson River Schoolhouse—appeared in 1820. Thomas Cole pioneered the motility which included Albert Bierstadt, Frederic Edwin Church building, Thomas Doughty and several others. Every bit with music and literature, this development was delayed until artists perceived that the New Earth offered subjects unique to itself; in this case the west expansion of settlement brought the transcendent beauty of frontier landscapes to painters' attending.

The Hudson River painters' directness and simplicity of vision influenced and inspired such afterward artists as John Kensett and the Luminists; every bit well as George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock among others), and Winslow Homer (1836–1910), who depicted the rural U.S.—the body of water, the mountains, and the people who lived about them.

The Hudson River School landscape painter Robert S. Duncanson was one of the first important African American painters. John James Audubon, an ornithologist whose paintings documented birds, was i of the nigh important naturalist artists in the early U.S. His major work, a gear up of colored prints entitled The Birds of America (1827–1839), is considered ane of the finest ornithological works always completed. Edward Hicks was a U.S. folk painter and distinguished minister of the Society of Friends. He became a Quaker icon because of his paintings.

Paintings of the Great West, many of which emphasized the sheer size of the land and the cultures of the native people living on it, became a distinct genre likewise. George Catlin depicted the West and its people as honestly as possible. George Caleb Bingham, and later Frederic Remington, Charles M. Russell, the photographer Edward S. Curtis, and others recorded the U.S. Western heritage and the Old American W through their art.

History painting was a less pop genre in U.South. fine art during the 19th century, although Washington Crossing the Delaware, painted past the German-born Emanuel Leutze, is amidst the best-known U.S. paintings. The historical and military paintings of William B. T. Trego were widely published after his death (according to Edwin A. Peeples, "There is probably non an American History book which doesn't have (a) Trego picture in information technology").[10]

Portrait painters in the U.S. in the 19th century included untrained limners such as Ammi Phillips, and painters schooled in the European tradition, such equally Thomas Sully and One thousand.P.A. Healy. Middle-class city life establish its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. As a issue, he was non notably successful in his lifetime, although he has since been recognized as 1 of the nigh significant U.S. artists.[11] One of his students was Henry Ossawa Tanner, the first African-American painter to attain international acclaim.

A trompe-l'œil style of even so-life painting, originating mainly in Philadelphia, included Raphaelle Peale (one of several artists of the Peale family), William Michael Harnett, and John F. Peto.

The most successful U.Southward. sculptor of his era, Hiram Powers, left the U.S. in his early thirties to spend the residue of his life in Europe, where he adopted a conventional style for his idealized female person nudes such as Eve Tempted.[12] Several important painters who are considered American spent much of their lives in Europe, notably Mary Cassatt, James McNeill Whistler, and John Singer Sargent, all of whom were influenced by French Impressionism. Theodore Robinson visited France in 1887, befriended Monet, and became ane of the first U.Due south. painters to adopt the new technique. In the last decades of the century American Impressionism, as practiced by artists such as Childe Hassam and Frank W. Benson, became a popular fashion.

Selection of notable 19th-century works [edit]

Twentieth century [edit]

Controversy soon became a way of life for American artists. In fact, much of American painting and sculpture since 1900 has been a serial of revolts against tradition. "To hell with the artistic values," announced Robert Henri (1865–1929). He was the leader of what critics chosen the Ashcan school of painting, later the group's portrayals of the squalid aspects of urban center life.

American realism became the new management for American visual artists at the plough of the 20th century. The Ashcan painters George Bellows, Everett Shinn, George Benjamin Luks, William Glackens, and John Sloan were amidst those who adult socially conscious imagery in their works. The lensman Alfred Stieglitz (1864–1946) led the Photo-Secession movement, which created pathways for photography as an emerging art course.

Soon the Ashcan schoolhouse artists gave mode to modernists arriving from Europe—the cubists and abstract painters promoted by Stieglitz at his 291 Gallery in New York City. John Marin, Marsden Hartley, Alfred Henry Maurer, Arthur B. Carles, Arthur Dove, Henrietta Shore, Stuart Davis, Wilhelmina Weber, Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Andrew Dasburg, Georgia O'Keeffe, and Gerald Murphy were some of import early American modernist painters. Early on modernist sculptors in America include William Zorach, Elie Nadelman, and Paul Manship. Florine Stettheimer developed an extremely personal faux-naif style.

After Earth War I many American artists rejected the modernistic trends emanating from the Arsenal Bear witness and European influences such as those from the School of Paris. Instead they chose to adopt various—in some cases academic—styles of realism in depicting American urban and rural scenes. Grant Wood, Reginald Marsh, Guy Pène du Bois, and Charles Sheeler exemplify the realist tendency in different means. Sheeler and the modernists Charles Demuth and Ralston Crawford were referred to as Precisionists for their sharply divers renderings of machines and architectural forms. Edward Hopper, who studied under Henri, developed an individual way of realism by concentrating on light and class, and avoiding overt social content.

The American Southwest [edit]

Following the get-go World War, the completion of the Santa Fe Railroad enabled American settlers to travel beyond the west, as far as the California declension. New artists' colonies started growing up around Santa Fe and Taos, the artists' main discipline thing being the native people and landscapes of the Southwest.

Images of the Southwest became a popular form of advertising, used most significantly past the Santa Fe Railroad to entice settlers to come westward and bask the "unsullied landscapes." Walter Ufer, Bert Geer Phillips, Eastward. Irving Couse, William Henry Jackson, Marsden Hartley, Andrew Dasburg, and Georgia O'Keeffe were some of the more prolific artists of the Southwest. Georgia O'Keeffe, who was built-in in the late 19th century, became known for her paintings featuring flowers, bones, and landscapes of New United mexican states as seen in Ram's Head White Hollyhock and Little Hills. O'Keeffe visited the Southwest in 1929 and moved there permanently in 1949; she lived and painted there until she died in 1986.

Harlem Renaissance (1920s-1930s) [edit]

The Harlem Renaissance was another meaning development in American art. In the 1920s and 30s a new generation of educated and politically acute African-American men and women emerged who sponsored literary societies and art and industrial exhibitions to combat racist stereotypes. The movement, which showcased the range of talents within African-American communities, included artists from across America, but was centered in Harlem. The work of the Harlem painter and graphic artist Aaron Douglas and the photographer James VanDerZee became emblematic of the movement. Artists associated with the Harlem Renaissance include Romare Bearden, Jacob Lawrence, Charles Alston, Augusta Brutal, Archibald Motley, Lois Mailou Jones, Palmer Hayden and Sargent Johnson.

New Deal fine art (1930s) [edit]

When the Bully Depression worsened, president Roosevelt'southward New Deal created several public arts programs. The purpose of the programs was to give work to artists and decorate public buildings, usually with a national theme. The beginning of these projects, the Public Works of Fine art Project (PWAP), was created subsequently successful lobbying by the unemployed artists of the Artists Wedlock.[13] The PWAP lasted less than 1 twelvemonth, and produced nigh 15,000 works of art. It was followed by the Federal Art Projection of the Works Progress Administration (FAP/WPA) in 1935, which funded some of the most well-known American artists.[14]

The style of much of the public fine art deputed by the WPA was influenced by the piece of work of Diego Rivera and other artists of the contemporary Mexican muralism movement. Several separate and related movements began and adult during the Great Depression including American scene painting, Regionalism, and Social Realism.[fifteen] Thomas Hart Benton, John Steuart Curry, Grant Woods, Maxine Albro, Ben Shahn, Joseph Stella, Reginald Marsh, Isaac Soyer, Raphael Soyer, Spencer Baird Nichols and Jack Levine were some of the all-time-known artists.

Not all of the artists who emerged in the years between the wars were Regionalists or Social Realists; Milton Avery's paintings, often nearly abstract, had a significant influence on several of the younger artists who would soon become known every bit Abstruse Expressionists.[xvi] Joseph Cornell, inspired by Surrealism, created boxed assemblages incorporating establish objects and collage.

Abstract expressionism [edit]

Jackson Pollock, Blue Poles Number 11, 1952, enamel and aluminium paint with drinking glass on canvass, 212.1 x 488.9 cm, National Gallery of Australia. Beginning exhibited in Pollock'south studio, Blueish Poles was purchased in 1973 by the Australian authorities for a controversial $1.iii 1000000, becoming the highest price ever paid for a painting in the history of Australia.[17] [xviii]

In the years later on World War Two, a group of New York artists formed the kickoff American movement to exert major influence internationally: abstruse expressionism. This term, which had get-go been used in 1919 in Berlin, was used again in 1946 by Robert Coates in The New York Times, and was taken up by the two major fine art critics of that time, Harold Rosenberg and Cloudless Greenberg. Information technology has always been criticized as as well large and paradoxical, still the common definition implies the apply of abstract fine art to express feelings, emotions, what is inside the artist, and non what stands without.

The first generation of abstract expressionists included Jackson Pollock, Willem de Kooning, Marker Rothko, Franz Kline, Arshile Gorky, Robert Motherwell, Clyfford Still, Barnett Newman, Adolph Gottlieb, Phillip Guston, Ad Reinhardt, James Brooks, Richard Pousette-Dart, William Baziotes, Marker Tobey, Bradley Walker Tomlin, Theodoros Stamos, Jack Tworkov, Wilhelmina Weber Furlong, David Smith, and Hans Hofmann, amid others. Milton Avery, Lee Krasner, Louise Bourgeois, Alexander Calder, Tony Smith, Morris Graves and others were also related, important and influential artists during that period.

Though the numerous artists encompassed by this label had widely dissimilar styles, contemporary critics found several mutual points betwixt them. Gorky, Pollock, de Kooning, Kline, Hofmann, Motherwell, Gottlieb, Rothko, Withal, Guston, and others were an American painters associated with the abstract expressionist motility and in most cases Action painting (equally seen in Kline's Painting Number ii, 1954); every bit office of the New York Schoolhouse in the 1940s and 1950s.

Many first generation abstract expressionists were influenced both by the Cubists' works (which they knew from photographs in art reviews and past seeing the works at the 291 Gallery or the Armory Evidence), by the European Surrealists, and by Pablo Picasso, Joan Miró and Henri Matisse as well as the Americans Milton Avery, John D. Graham, and Hans Hofmann. Most of them abased formal limerick and representation of real objects. Often the abstract expressionists decided to endeavor instinctual, intuitive, spontaneous arrangements of space, line, shape and color. Abstract Expressionism tin can be characterized by two major elements: the large size of the canvases used (partially inspired past Mexican frescoes and the works they made for the WPA in the 1930s), and the strong and unusual apply of brushstrokes and experimental paint application with a new understanding of procedure.

Color Field painting [edit]

The emphasis and intensification of colour and large open expanses of surface were two of the principles applied to the movement called Color Field painting. Ad Reinhardt, Adolph Gottlieb, Mark Rothko, Clyfford Still and Barnett Newman were categorized every bit such. Another move was called Action Painting, characterized by spontaneous reaction, powerful brushstrokes, dripped and splashed paint and the strong physical movements used in the production of a painting. Jackson Pollock is an case of an Activeness Painter: his creative process, incorporating thrown and dripped paint from a stick or poured directly from the tin can, revolutionized painting methods.[19]

Willem de Kooning famously said most Pollock "he broke the ice for the rest of us."[20] Ironically Pollock'southward big repetitious expanses of linear fields are characteristic of Color Field painting every bit well, as art critic Michael Fried wrote in his essay for the itemize of Three American painters: Kenneth Noland, Jules Olitski, Frank Stella at the Fogg Art Museum in 1965. Despite the disagreements betwixt art critics, Abstract Expressionism marks a turning-point in the history of American fine art: the 1940s and 1950s saw international attention shift from European (Parisian) art, to American (New York) art.[21]

Colour field painting connected equally a movement in the 1960s, equally Morris Louis, Jules Olitski, Kenneth Noland, Gene Davis, Helen Frankenthaler, and others sought to make paintings which would eliminate superfluous rhetoric with repetition, stripes and big, flat areas of color.[22]

After abstract expressionism [edit]

During the 1950s abstract painting in America evolved into movements such as Neo-Dada, Post painterly abstraction, Op Art, hard-edge painting, Minimal art, Shaped canvas painting, Lyrical Abstraction, and the continuation of Abstruse expressionism. As a response to the trend toward brainchild imagery emerged through various new movements like Popular Art, the Bay Area Figurative Movement and later in the 1970s Neo-expressionism.

Lyrical Abstraction along with the Fluxus motion and Postminimalism (a term get-go coined past Robert Pincus-Witten in the pages of Artforum in 1969)[24] sought to expand the boundaries of abstract painting and Minimalism past focusing on process, new materials and new ways of expression. Postminimalism oftentimes incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is all-time exemplified in the sculptures of Eva Hesse.[24]

Lyrical Abstraction, Conceptual Fine art, Postminimalism, World Art, Video, Performance art, Installation art, forth with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard-edge painting, Minimal Art, Op fine art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.[25]

Lyrical Brainchild shares similarities with Color Field Painting and Abstract Expressionism, especially in the freewheeling usage of paint texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed pigment superficially resemble the furnishings seen in Abstract Expressionism and Color Field Painting. However the styles are markedly dissimilar.[26] [27]

During the 1960s, 1970s and 1980s painters equally powerful and influential as Adolph Gottlieb, Phillip Guston, Lee Krasner, Cy Twombly, Robert Rauschenberg, Jasper Johns, Richard Diebenkorn, Josef Albers, Elmer Bischoff, Agnes Martin, Al Held, Sam Francis, Kenneth Noland, Jules Olitski, Ellsworth Kelly, Morris Louis, Factor Davis, Frank Stella, Joan Mitchell, Friedel Dzubas, Paul Jenkins and younger artists similar Brice Marden, Robert Mangold, Sam Gilliam, Sean Scully, Elizabeth Murray, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Susan Rothenberg, Ross Bleckner, Richard Tuttle, Julian Schnabel, Peter Halley, Jean-Michel Basquiat, Eric Fischl and dozens of others produced vital and influential paintings.

Other modern American movements [edit]

Members of the next artistic generation favored a different form of brainchild: works of mixed media. Amongst them were Robert Rauschenberg (1925–2008) and Jasper Johns (1930- ), who used photos, newsprint, and discarded objects in their compositions. Pop artists, such as Andy Warhol (1928–1987), Larry Rivers (1923–2002), and Roy Lichtenstein (1923–1997), reproduced, with satiric care, everyday objects and images of American popular civilisation—Coca-Cola bottles, soup cans, comic strips.

Realism has besides been continually popular in the U.s., despite modernism'southward impact; the realist tendency is evident in the city scenes of Edward Hopper, the rural imagery of Andrew Wyeth, and the illustrations of Norman Rockwell. In certain places Abstract Expressionism never caught on; for example, in Chicago, the ascendant fine art way was grotesque, symbolic realism, equally exemplified by the Chicago Imagists Cosmo Campoli (1923–1997), Jim Nutt (1938- ), Ed Paschke (1939–2004), and Nancy Spero (1926–2009).

Contemporary fine art into the 21st century [edit]

At the beginning of the 21st century, contemporary art in the Us in general continues in several contiguous modes, characterized by the idea of Cultural pluralism. The "crisis" in painting and current art and current fine art criticism today is brought about by pluralism. There is no consensus, nor need at that place be, as to a representative style of the age. At that place is an annihilation goes attitude that prevails; an "everything going on" syndrome; with no house and clear direction and yet with every lane on the creative superhighway filled to capacity. Consequently, magnificent and of import works of fine art go on to be made in the Us albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit.

Hard-edge painting, Geometric abstraction, Cribbing, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Pop art, Op art, Abstract Expressionism, Colour Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Assemblage painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped sail painting, environmental landscape painting, Graffiti, traditional effigy painting, Mural painting, Portrait painting, are a few continuing and electric current directions in painting at the get-go of the 21st century.

Notable figures [edit]

A few American artists of notation include: Ansel Adams, John James Audubon, Milton Avery, Jean-Michel Basquiat, Thomas Hart Benton, Albert Bierstadt, Alexander Calder, Mary Cassatt, Frederic Edwin Church, Chuck Close, Thomas Cole, Robert Crumb, Edward S. Curtis, Richard Diebenkorn, Thomas Eakins, Jules Feiffer, Lyonel Feininger, Helen Frankenthaler, Arshile Gorky, Keith Haring, Marsden Hartley, Al Hirschfeld, Hans Hofmann, Winslow Homer, Edward Hopper, Jasper Johns, Georgia O'Keeffe, Jack Kirby, Franz Kline, Willem de Kooning, Lee Krasner, Dorothea Lange, Roy Lichtenstein, Morris Louis, John Marin, Agnes Martin, Joan Mitchell, Grandma Moses, Robert Motherwell, Nampeyo, Kenneth Noland, Jackson Pollock, Human Ray, Robert Rauschenberg, Frederic Remington, Norman Rockwell, Mark Rothko, Albert Pinkham Ryder, John Singer Sargent, Cindy Sherman, David Smith, Frank Stella, Clyfford Still, Gilbert Stuart, Louis Comfort Tiffany, Cy Twombly, Andy Warhol, Grant Wood, Frank Lloyd Wright, and Andrew Wyeth.

See also [edit]

  • Aesthetics
  • Architecture of U.s.a.
  • Art education in the United states
  • Movie theatre of the Usa
  • History of painting
  • Ledger art
  • Mod fine art museums in the United States
  • Museums of American art
  • National Museum of the American Indian
  • Native American museums in New York
  • Photography in the Us
  • Sculpture of the Us
  • Synchromism
  • Timeline of Native American fine art history
  • Visual arts of Chicago
  • Western painting
  • Australian art
  • Minimal art

References [edit]

  1. ^ a b Gilbert Stuart Birthplace and Museum. Gilbert Stuart Biography. Accessed July 24, 2007.
  2. ^ National Gallery of Art Archived 2009-05-12 at the Wayback Automobile
  3. ^ Flexner, James Thomas. John Singleton Copley. Fordham University Press. 1948. p. 20. ISBN 0823215237
  4. ^ Booker Wright, Louis, The Arts in America: the colonial menstruum. Schocken. 1975. p. 172.
  5. ^ Smithsonian National Postal Museum
  6. ^ "National Gallery of Art". Archived from the original on 2012-07-01. Retrieved 2012-06-xxx .
  7. ^ Barratt, Carrie Rebora. "Students of Benjamin West (1738–1820)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–October 2004. Retrieved July thirteen, 2012.
  8. ^ Robert Chiliad. Stewart, James Earl: Painter of Loyalists and his career in England
  9. ^ "The Joseph Downs Collection". Winterthur Library. Retrieved 2008-03-24 .
  10. ^ "James A. Michener Art Museum: Bucks County Artists". Michenermuseum.org . Retrieved 2012-04-09 .
  11. ^ TFAOI.com. Philadelphia Museum of Art. Retrieved July 13, 2012
  12. ^ National Museum of American Fine art (U.S.), & Kloss, Due west. Treasures from the National Museum of American Art. Washington: National Museum of American Art. 1985. pp. 189–190. ISBN 0874745950
  13. ^ History of the New Deal Fine art Projects
  14. ^ Eric Arnesen, ed. Encyclopedia of U.S. labor and working-class history (2007) vol. one p. 1540
  15. ^ MoMA, The Collection, Social Realism
  16. ^ Chernow, Bert. Milton Avery: a singular vision: [exhibition], Centre for the Fine Arts, Miami. Miami, Florida: Trustees of the Eye for the Fine Arts Clan. 1987. p. viii. OCLC 19128732
  17. ^ Simon Knell, National Galleries, Routledge, 2016, p. 55, ISBN 1317432428
  18. ^ Cosic, Miriam (August 18, 2012). "Jackson Pollock'due south landmark work remains in pole position". The Australian . Retrieved November 1, 2012.
  19. ^ The Encyclopedia Americana, Volume i, Grolier Incorporated, January 1, 1999, p. 56, ISBN 0717201317
  20. ^ Carolyn Lanchner, Jasper Johns, The Museum of Modern Art, New York, N.Y., 2009, p. 20, ISBN 087070768X
  21. ^ Paul Cummings, American Drawings: the 20th Century, Viking Printing, University of Michigan, 1976, ISBN 0670117846
  22. ^ William S. Rubin, Frank Stella, The Museum of Modernistic Art, Distributed by New York Graphic Society, Greenwich, CT, 1970
  23. ^ Baal-Teshuva, Jacob. Mark Rothko, 1903–1970: Pictures as Drama. New York: Taschen, 2003
  24. ^ a b Movers and Shakers, New York, "Leaving C&One thousand", past Sarah Douglas, Fine art+Auction, March 2007, 5.XXXNo7.
  25. ^ Martin, Ann Ray, and Howard Junker. The New Art: It'south Mode, Way Out, Newsweek July 29, 1968: pp.3,55-63.
  26. ^ Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–Dec 1969, pp.104–113.
  27. ^ Thomas B. Hess on Larry Aldrich, Retrieved June 10, 2010

Sources [edit]

  • American paradise: the world of the Hudson River school . New York: The Metropolitan Museum of Art. 1987. ISBN9780870994968.
  • Avery, Kevin J. Late Eighteenth-Century American Drawings. The Metropolitan Museum Of Art. 2000-2011 The Metropolitan Museum Of Art
  • Bernet, Claus; Nothnagle, Alan L.: Christliche Kunst aus den United states of america, Norderstedt 2015, ISBN 978-three-7386-1339-1.
  • Mayer, Lance and Myers, Gay. American Painters on Technique: The Colonial Period to 1860. Los Angeles: Getty Publications, 2011. ISBN 978-1-60606-077-3
  • Mayer, Lance and Myers, Gay. American Painters on Technique: 1860-1945. Los Angeles: Getty Publications, 2013. ISBN 978-ane-60606-135-0
  • Pohl, Frances K. Framing America. A Social History of American Art. New York: Thames & Hudson, 2002 (pages 74–84, 118–122, 366–365, 385, 343–344, 350–351)
  • The United states of america. New York: The Metropolitan Museum of Art. 1987. ISBN0870994166.

External links [edit]

  • American Paintings in The Metropolitan Museum of Art, a fully digitized 3 volume exhibition catalog
  • Inquiring Center: American Painting, educational activity resource on history of American painting

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Source: https://en.wikipedia.org/wiki/Visual_art_of_the_United_States