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Lessons in Likeness
From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802–1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most ext...
Lessons in Likeness
Between 1802, when the young Kentucky artist William Edward West began to paint portraits while on a downriver journey, and 1920, when the last of Frank Duveneck's students worked in Louisville, a large number of notable portrait artists were active in Kentucky and the Ohio River Valley. In Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802-1920, Estill Curtis Pennington charts the course of those artists as they painted a variety of sitters drawn from both urban and rural society. The work is illustrated, when possible, from The Filson Historical Society collection of some four hundred portraits representing one of the most extensive holdings available for st...
Downriver
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Formations of Identity
The physical landscape has been appropriated by artists throughout temporal and spatial history to represent (or present) political, social, and national identities. Artists have long imbued the landscape with personal and public ideologies. Indeed, landscapes can be more than simple representations of scenic beauty, when artists use the genre to convey or reflect upon various political and social concerns important in different periods. This collection of essays brings together the perspectives of scholars from a variety of backgrounds. Subjects range from Venetian Renaissance waterscapes to the rolling farm hills of Grant Wood, and from native Botswana imagery to ecosensitive Florida portraits. These examinations of landscapes consider the rich ideology and iconography that define and redefine peoples and places.
Annual Report
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A Golden Haze of Memory
Charleston, South Carolina, today enjoys a reputation as a destination city for cultural and heritage tourism. In A Golden Haze of Memory, Stephanie E. Yuhl looks back to the crucial period between 1920 and 1940, when local leaders developed Charleston's trademark image as "America's Most Historic City." Eager to assert the national value of their regional cultural traditions and to situate Charleston as a bulwark against the chaos of modern America, these descendants of old-line families downplayed Confederate associations and emphasized the city's colonial and early national prominence. They created a vibrant network of individual artists, literary figures, and organizations--such as the a...
The South on Paper
Explores forty-four southern artists and eighty of their works.
Annual Report
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