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A groundbreaking survey of the school of expressive, symbolic landscape painting that gave rise to American modernism—newly revised and updated This magnificent volume, featuring more than 750 illustrations, is the first definitive account of the Tonalist movement. Based on original research, it tells how the progressive Tonalist landscape dethroned the Hudson River School in the late 1870s and remained the dominant school in American art until World War I. More provocatively, it also argues that Tonalism gave rise to American modernism, laying the groundwork for the artists of the Stieglitz Circle, and subsequently Milton Avery, Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankent...
A History of American Tonalism: 1880-1920 will change standard theory on American art history with a new paradigm that places the origins of American modernism in the late 1870s. Crucially, it also demonstrates how the Tonalist movement became the driving force in the development of a distinctly American art form: mystic, visionary, and nostalgic, yet essentially modern in its progressive dynamic of non-narrative abstraction--a fundamentally expressive and symbolic art that set its seal on American art then and now. --Book Jacket.
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The first definitive overview of the Tonalist movement-the crucial but long-misunderstood missing link in the evolution of American art. Includes over 300 color plates.
Through an innovative manner of handling paint, a group of American artists around 1900 created deceptively simple canvases that convey images of shimmering transcience, visions suggested rather than delineated. Focusing on this singular aesthetic characteristic - softness - this book explores this painterly phenomenon.
Explores forty-four southern artists and eighty of their works.
The landscape painter George Inness (1825-1894) was one of the foremost American artists of his generation. Born in Newburgh, New York, Inness studied the works of the old masters and, as a young man, painted in the reigning style of the Hudson River School. Within a few years, however, he found himself more attuned to the gestural, expressive approach of the Barbizon School. He greatly admired the free handling of paint and the expression of soulfulness in the works of Theodore Rousseau. Equally important were Inness's philosophical and spiritual concerns. Along with contemporaries Ralph Waldo Emerson, Elizabeth Barrett Browning, and Walt Whitman, Inness studied the writings of the Swedish ...