"A spouse to American Art" offers 35 newly-commissioned essays by means of best students that discover the technique, historiography, and present nation of the sphere of yankee paintings heritage. positive aspects contributions from a stability of demonstrated and rising students, artwork and architectural historians, and different experts comprises numerous paired essays to stress discussion and debate among students on vital modern concerns in American paintings heritage Examines subject matters resembling the methodological stakes within the writing of yank paintings background, altering principles approximately what constitutes "Americanness," and the connection of artwork to public tradition bargains a desirable portrait of the evolution and present nation of the sector of yank artwork background and indicates destiny instructions of scholarship.
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Additional info for A Companion to American Art
Building on a mode of interpretation that has guided his scholarship for the past thirty years, David Lubin turns to collage as a way of thinking about a subjective, multicontextual, multiperspectival, and democratically plural form of art-historical practice. ” Lubin prefers interdisciplinary writing that puts into play diverse descriptive and analytic discourses and juxtaposes them in new and meaningful combinations, even when—or especially when—they can’t be synthesized in a smooth and seamless manner.
Initially considered artisans (defined by hand labor), American painters participated in the belated eighteenth-century British push to win recognition for themselves as gentleman-intellectuals engaged in a liberal art. That identification, in turn, would be subverted by a more modernist conception of the artist as genius-eccentric. These types overlapped in the bumpy and contradictory process of artistic self-formation that Susan Rather traces in her contribution. Her chapter interweaves fresh analysis of well-known A m e r i ca n A rt H i sto ry N ow ◼◼◼ 9 artists, paintings, and texts with accounts of non-elite painters, ephemeral texts and images, and a variety of contemporaneous writings about artists.
Chronologically, the texts make a tight grouping as all were published in the 1990s. Our goal in comparing the interpretive strategies deployed by these authors is not to critique or even to recapitulate each of their arguments as such, but rather to locate in them the methodological and philosophical differences that shape the two fields. In doing so, however, we also aim to demonstrate some of the uniqueness of each case and to recognize moments of hybridity when they arise. 28 We reprise the categories laid out previously for the sake of clarity.
A Companion to American Art