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Andrew Wyeth
Prior to the 1960s, Andrew Wyeth enjoyed a stellar reputation as a rising star in the art world. Since then, critics and scholars have largely ignored him. Wyeth, however, who is age 88 at the date of publication, has continued to paint, to the delight of his admirers, collectors, and the art-loving public. Now, in association with the High Museum exhibition, Andrew Wyeth: Memory & Magic takes a fresh look at the work of one of America's most beloved artists.In examining his entire oeuvre, the book celebrates the artist's ongoing love affair with everyday life-domestic, natural, and architectural. Found throughout Wyeth's work, these objects form patterns that illuminate core themes and reveal the artist wrestling with issues of memory, temporality, embodiment, and the metaphysical. Organized chronologically and thematically, the book explores how the artist's approach to these subjects was formed in his early career, and has been revisited in new and surprising ways in recent years.Andrew Wyeth: Memory & Magic comprises 150 tempera paintings and 50 drawings and watercolors-including his most-famous works, but also many published here for the first time.
World War I and American Art
-World War I and American Art provides an unprecedented look at the ways in which American artists reacted to the war. Artists took a leading role in chronicling the war, crafting images that influenced public opinion, supported mobilization efforts, and helped to shape how the war's appalling human toll was memorialized. The book brings together paintings, drawings, prints, photographs, posters, and ephemera, spanning the diverse visual culture of the period to tell the story of a crucial turning point in the history of American art---
The Historiography of World War I from 1918 to the Present
From the Treaty of Versailles to the 2018 centenary and beyond, the history of the First World War has been continually written and rewritten, studied and contested, producing a rich historiography shaped by the social and cultural circumstances of its creation. Writing the Great War provides a groundbreaking survey of this vast body of work, assembling contributions on a variety of national and regional historiographies from some of the most prominent scholars in the field. By analyzing perceptions of the war in contexts ranging from Nazi Germany to India’s struggle for independence, this is an illuminating collective study of the complex interplay of memory and history.
World War I, Mass Death, and the Birth of the Modern US Soldier
World War I, Mass Death, and the Birth of the Modern US Soldier: A Rhetorical History examines the United States government’s postwar ideological and rhetorical project in establishing permanent national military cemeteries abroad. Constructed throughout Europe where citizen-soldiers had fought and perished, and sacralized as American sites, these burial grounds simultaneously linked the nation’s war dead back to American soil and the national purpose rooted there, expressed the nation’s emerging prominent role on the world’s stage, and advanced the burgeoning icon of the “sacrificial, universal” US soldier. It draws upon untapped archival and historical materials from the WWI and interwar periods, as well as original on-site research, to show how the cemeteries came to display and advance the vision of the modern US soldier as “a global force for good.” Ultimately, within the visual display of overseas cemeteries we can detect the birth of “the modern US soldier”—a potent icon in which divergent emotions, memories, beliefs, and arguments of Americans and non-Americans have been expressed for a century.
Grand Illusions
A vivid, engaging account of the artists and artworks that sought to make sense of America's first total war, Grand Illusions takes readers on a compelling journey through the major historical events leading up to and beyond US involvement in WWI to discover the vast and pervasive influence of the conflict on American visual culture. David M. Lubin presents a highly original examination of the era's fine arts and entertainment to show how they ranged from patriotic idealism to profound disillusionment. In stylishly written chapters, Lubin assesses the war's impact on two dozen painters, designers, photographers, and filmmakers from 1914 to 1933. He considers well-known figures such as Marcel...
Race and the Production of Modern American Nationalism
This important book addresses the ways race has both helped and hindered Americans in determining national identity. Contributors consider race and American nationalism from a variety of historical and disciplinary vantage points. Beginning with the aftermath of the Civil War and unfolding chronologically through to the present, the essays examine a multitude of different groups-Japanese Americans, Chinese Americans, Puerto Ricans, African Americans, whites, Jews, Irish Americans, German Americans-by examining race and nationalism represented in public memorials, photography, film, classic and minor literature, gender issues, legal studies, and more. The book offers rereadings of some of the pivotal figures in American culture and politics, including Herman Melville, Frances Harper, William James, Frederic Remington, Charles Francis Adams, W. E. B. DuBois, George Creel, Zora Neale Hurston, Louis Chu, and others. In the course of these essays, readers will learn how Americans in different periods and circumstances have grappled with the changing issues of defining race and of defining American as a race, as a nationality, or as both.
Constructing Disability after the Great War
As Americans--both civilians and veterans--worked to determine the meanings of identity for blind veterans of World War I, they bound cultural constructs of blindness to all the emotions and contingencies of mobilizing and fighting the war, and healing from its traumas. Sighted Americans’ wartime rehabilitation culture centered blind soldiers and veterans in a mix of inspirational stories. Veterans worked to become productive members of society even as ableism confined their unique life experiences to a collection of cultural tropes that suggested they were either downcast wrecks of their former selves or were morally superior and relatively flawless as they overcame their disabilities and triumphantly journeyed toward successful citizenship. Sullivan investigates the rich lives of blind soldiers and veterans and their families to reveal how they confronted barriers, gained an education, earned a living, and managed their self-image while continually exposed to the public’s scrutiny of their success and failures.
Picture This
Essays by Jay Winter, Jeffrey T. Schnapp, Jennifer D. Keene, and others reveal the centrality of visual media, particularly the poster, within the specific national contexts of Britain, France, Germany, Russia, and the United States during World War I.℗¡Ultimately, posters were not merely representations of popular understanding of the war, but instruments influencing the.
Gender and Protest
For centuries women and other "gendered minorities" had to protest to gain equality. Their demands were often matched by counter-protest from conservative forces within historical societies that intended to return to "old orders" or "good old times." The present volume will take a closer look at the interrelationship between gender and protest and analyze in detail how gender-related perspectives stimulated protests and initiated historical changes. Through historical case studies that range from antiquity until modern times, specialists from different countries and disciplines discuss reasons for protest, gender as a factor that stimulated social conflicts, and the power of gendered protests of the past with regards to their impact and long-term impact until today.
Portraits of Remembrance
Interdisciplinary collection of essays on fine art painting as it relates to the First World War and commemoration of the conflict Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of painting played a vital role in the visual culture of combatant nations. The public’s appetite for the kind of up-close frontline action that snapshots and film footage could not yet provide resulted in a robust market for drawn or painted battle scenes. Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: f...
