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MAGICAL MIXTURES PB
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American Faces
Portraits. We know what they are, but why do we make them? Americans have been celebrating themselves in portraits since the arrival of the first itinerant portrait painters to the colonies. They created images to commemorate loved ones, glorify the famous, establish our national myths, and honor our shared heroes. Whether painting in oil, carving in stone, casting in bronze, capturing on film, or calculating in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. In this sumptuously illustrated book, Richard H. Saunders explores our collective understanding of portraiture, its history in America, how it shapes our individual and national identity, and why we make portraits - whether for propaganda and public influence or for personal and private appreciation. American Faces is a rich and fascinating view of ourselves.
The Female Portrait Statue in the Greek World
In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the 4th century BCE to the 3rd century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.
Masters of American Sculpture
Commemorating the 100th anniversary of the National Sculpture Society, this important history traces America's rich heritage of figurative sculpture from the Columbian exposition of 1893 to the present. Illustrated with outstanding examples of American figurative sculpture of the last century, this volume begins with an analysis of the influence of the Beaux-Arts tradition on the creation of the great public monuments of the young republic. With this background, the book moves on to survey important categories of sculpture chronologically. Equestrian monuments and countless tributes to war heroes are surveyed in one category. In another important grouping, author David Martin Reynolds survey...
This is a Portrait If I Say So
The first in-depth exploration of the rise and evolution of abstract, symbolic, and conceptual portraiture in American art This groundbreaking book traces the history of portraiture as a site of radical artistic experimentation, as it shifted from a genre based on mimesis to one stressing instead conceptual and symbolic associations between artist and subject. Featuring over 100 color illustrations of works by artists from Charles Demuth, Marcel Duchamp, Marsden Hartley, and Georgia O'Keeffe to Janine Antoni, Felix Gonzalez-Torres, Roni Horn, Jasper Johns, and Glenn Ligon, this timely publication probes the ways we think about and picture the self and others. With particular focus on three p...
Nineteenth-century American Art
"Many well-known artists, including Thomas Eakins and Winslow Homer, and lesser-known artists like Harriet Hosmer are closely examined, as is the art world of the time. In addition to discussing the free movement of American visual culture between 'high' and 'low', Barbara Groseclose interweaves nineteenth-century art criticism with current art history, to create a fascinating insight into the changing interpretations of American art of this period."--BOOK JACKET.
Art in America
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Portrait Sculpture
Presented in catalogue form are 64 portrait heads, headless torsos, and fragments (of both categories) ranging in date from the first half of the 1st century B. C. to the 5th century A. D. The catalogue is preceded by an introduction dealing with finding-places, material, forms of portraits, and subjects. Special emphasis is placed on stylistic criteria for dating each work, and the more interesting examples are discussed in some detail. There are not many great works of art illustrated, but many interesting types. As the author says in her introduction, "the Agora portraits interest us, not because they are unique, but because they are representative."
