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The Commerce of Vision
When Ralph Waldo Emerson wrote in 1837 that "Our Age is Ocular," he offered a succinct assessment of antebellum America's cultural, commercial, and physiological preoccupation with sight. In the early nineteenth century, the American city's visual culture was manifest in pamphlets, newspapers, painting exhibitions, and spectacular entertainments; businesses promoted their wares to consumers on the move with broadsides, posters, and signboards; and advances in ophthalmological sciences linked the mechanics of vision to the physiological functions of the human body. Within this crowded visual field, sight circulated as a metaphor, as a physiological process, and as a commercial commodity. Out ...
American Encounters
Genre painting flourished in the U.S. during the mid-19th century. These narrative scenes depicting the everyday activities of stock or typed characters captivated American audiences. Delineating distinctly American characters, often through the exploration of racial, regional, or class differences, genre painting, like landscape, was often called upon as a vehicle for expression of cultural nationalism. Two paintings from the Louvre represent the Dutch and English schools, key sources on which genre painters in the U.S. drew in developing their own idiom. These rich genre paintings, alongside three outstanding American examples, enable the exploration of a variety of interrelated themes inc...
Conversations with the Collection
The Terra Foundation for American Art uses its impressive collection of American art spanning a two-hundred-year period to fulfill its mission. Since the Foundation's establishment in 1978, it has sought to share the collection's extraordinary pieces by renowned American artists like Mary Cassatt, Georgia O'Keeffe, and Edward Hopper with an international audience, encouraging the study of American art around the world. Conversations with the Collection helps to realize the Foundation's mission of serving as a "museum without walls," bringing art and scholarship to a global audience. The handbook entries and scholars' responses to the artworks that comprise these Conversations provide fascina...
Home Front
More than one hundred and fifty years after Confederates fired on Fort Sumter, the Civil War still occupies a prominent place in the national collective memory. Paintings and photographs, plays and movies, novels, poetry, and songs portray the war as a battle over the future of slavery, often focusing on Lincoln’s determination to save the Union, or highlighting the brutality of brother fighting brother. Battles and battlefields occupy us, too: Bull Run, Antietam, and Gettysburg all conjure up images of desolate landscapes strewn with war dead. Yet the frontlines were not the only landscapes of the war. Countless civilians saw their daily lives upended while the entire nation suffered. Hom...
Picturing the Americas
Catalogue of a touring exhibition held at the Art Gallery of Ontario, Toronto, June 20-September 20, 2015; Crystal Bridges Museum of American Art, Bentonville, Arkansas, November 7, 2015-January 18, 2016; and Pinacoteca do Estado de Saao Paulo, Saao Paulo, February 27-May 29, 2016.
Colonization, Wilderness, and Spaces Between
"This publication arose from an inspired partnership between the Terra Foundation, The University of Western Australia, the Art Gallery of Western Australia, and the University of Melbourne's Ian Potter Museum of Art. Together, the partners co-organized and presented the Terra Collection Initiative exhibition Continental shift: Nineteenth Century American and Australian Landscape Painting (shown in Melbourne as Not as the Songs of Other Land s: 19th Century American and Australian Landscape Painting)."--Page 7.
Samuel F.B. Morse's Gallery of the Louvre and the Art of Invention
"Known today primarily for his role in the development of the electromagnetic telegraph and Morse code, Samuel F.B. Morse began his career as a painter. His monumental Gallery of the Louvre was the culmination of an extended period of study in Europe"--Provided by publisher.
Contraband Guides
In his best-selling travel memoir, The Innocents Abroad, Mark Twain punningly refers to the black man who introduces him to Venetian Renaissance painting as a “contraband guide,” a term coined to describe fugitive slaves who assisted Union armies during the Civil War. By means of this and similar case studies, Paul H. D. Kaplan documents the ways in which American cultural encounters with Europe and its venerable artistic traditions influenced nineteenth-century concepts of race in the United States. Americans of the Civil War era were struck by the presence of people of color in European art and society, and American artists and authors, both black and white, adapted and transformed Eur...
Defining the Modern Museum
Partiendo del museo público más antiguo de Canadá, el New Brunswick Museum en Saint John, la autora realiza un estudio de los museos como instituciones culturales entre 1842 y 1950, enfatizando sus relaciones con las escuelas, las bibliotecas o las agencias gubernamentales.
