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The conflict between modern and traditional art is one of the best known episodes in American cultural history. The modernists on the war in the sense that their styles and attitudes of mind dominated the discussion and production of new art. But the traditionalists remained strong in the arenas of public opinion and taste. It is a testament to the importance of the ideas involved that the basic issues are not yet settled in the larger cultural world. Kenyon Cox, a painter as well as critic, revealed a steadfast devotion to the ideals of a high art tradition, derived in his later years chiefly from admiration for the Italian Renaissance. He knew western art history, surveyed the current art ...
Melville's eighth book was begun as a simple rewrite of an obscure little narrative entitled Life and Remarkable Adventures of Israel R. Potter, in which Israel tells the story of his sad fall from Revolutionary hero to London peddler. Following its opening chapter Melville's novel retells that tale, with close adherence to the language and events of the Life, and then, shaking free of the original narrative, alternately moves between invented episodes and historical sources unrelated to the Life. Israel Potter is unique among Melville's books. It is the only one to be offered in the guise of literal biography, the tale presuming to offer an accurate life history of the man Israel Potter who did in fact fight at Bunker Hill. It is also Melville's only historical novel: it presents famous men of the American Revolution - Benjamin Franklin, John Paul Jones, Ethan Allen, and others - in situations that are a matter of historical record.
John La Farge, A Biographical and Critical Study is the first biography in a century of the American painter, illustrator, muralist, stained-glass artist, and writer. Examining La Farge's career from his youth to his late rebound as a decorative artist-from New York City and New England to Europe to Japan to the South Seas-this is also the only biography to date composed independently of the artist and his estate. Drawing on primary documentation culled from archives and contemporary newspapers and journals, the biography thoroughly documents La Farge's career and artwork. Earlier biographies avoided the darker aspects of his complex and conflicted life, which had dramatic effects on his work. The study also offers critical analysis of the artist's works, showing influences from other artists and giving contemporary and modern responses. La Farge authority James L. Yarnall scrutinizes how posterity has viewed the artist throughout the century since his death. The book is copiously illustrated with black-and-white and color images.
"A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and ...
Italian Forgers takes an unorthodox approach to the fascinating topic of art forgery, focusing not on art forgery per se, but on the major forgery scandals that shifted the Italian art market in response to constant, and often intense, demand for Italian objects. By focusing on power dynamics that both precipitated forgery scandals and forged Italian cultural identities, this book connects the debates and discussions about three well-known Italian forgers—Giovanni Bastianini, Icilio Joni, and Alceo Dossena—to anchor and investigate the mechanics of the Italian art market from unification through the fascist era. Carol Helstosky examines foreign accounts of transactions and Italian writin...
"Let's pull some grass for 'em," suggested Teddy, and they did this, feeding it to the horses that stretched their necks over the top rail of the fence and chewed the green bunches as if they very much liked their fodder.
Details Lawrence's reception of Melville and reveals his underacknowledged role in the Melville Revival, while contributing to the history of the book and the study of the creative process.
Presents a selection of important older literary criticism of selected works by Geoffrey Chaucer.