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The illustrated story of the life and times of architect Richard Morris Hunt, his forty-year career, and his impact on American culture after the Civil War.
Celebrated internationally in the nineteenth century as America's premier architect, Richard Morris Hunt (1827-1895) is best known for his opulent Gilded Age Vanderbilt mansions, including Biltmore, the Breakers, Marble House, and other landmark works. Yet Hunt's impact on American culture after the Civil War ranges far beyond his lavish palaces. In The Gilded Life of Richard Morris Hunt, historian Sam Watters reveals Hunt's remarkable influence in creating the institutions and their conventions that transformed Old World traditions into his generation's idea of an American civilization, through architecture, interior design, sculpture, painting, and the ardent advocacy of artisan trades.
Watters repositions Hunt and his forty-year career in light of new discoveries and connections made through his meticulous study of the Richard Morris Hunt Collection at the Library of Congress. Featuring 200 illustrations, including Hunt's drawings, images he collected, portraits of his privileged New York and Newport inner circle, and new photographs and plans, this dynamic biography follows the contours of American thought that shaped Hunt's life and work among the ruling one percent.
A dynamic, personal, and poignant collection of over 90 works from Eric Key's extensive collection of art by American artists of African descent, spanning the Harlem Renaissance to the twenty-first century.
Since he started collecting in the 1990s, Eric Key's intent has always been to help preserve America's Black experience in the arts, and to benefit the many communities of which he has been a part--opening gateways for artists, African Americans, and conversations about race, identity, and America. Featured in the volume are selected works by some of the most recognizable contemporary African American artists, including Sam Gilliam, Jacob Lawrence, Elizabeth Catlett, William Artis, Samella Lewis, and Renee Stout. Together, these artists work to dispel the many stereotypes and misunderstandings about African American art and people, but also remain a form of personal narrative. As Eric Key states, the works in his collection are an extension of himself, a Black man in a still mostly white art world; they are an extension of the country in which he lives and an extension of the artists who created them.
New publication celebrates the dynamic tradition of narrative art among Native nations of the American Great Plains.
Unbound shows the full expression of Plains narrative art, from historical hides, muslins, and ledger books to contemporary works. Illustrating everything from war deeds and ceremonial events to family life, Indigenous identity, and pop culture, the artworks are as diverse as the individuals who created them.
Early narrative warrior-artists recorded their battle exploits on buffalo-hide shirts, and robes. In the late nineteenth century, as trade broadened, artists painted elaborate scenes of battles and ceremonies on large muslin tipi liners. When ledger books became available, artists filled their pages with narrative drawings. Native artists began reviving ledger art in the 1970s, creating a vibrant form that takes on contemporary topics, uses a variety of media, and is widely collected.
Organized chronologically, Unbound juxtaposes traditional works from the National Museum of the American Indian's (NMAI's) renowned collection with drawings and paintings commissioned from eleven contemporary Native artists. The book accompanies an acclaimed exhibition of the same title that appeared in 2016 at the museum's New York venue and in summer 2024 in the Washington, DC, museum.
Pattern and Paradox reveals the astonishing creativity, design innovation, and skill of Amish women from communities across the United States, through fifty premier quilts made between 1880 and 1940.
Pattern and Paradox: The Quilts of Amish Women is an inspirational, lavishly illustrated book which will appeal to quilt enthusiasts, quilters and crafters, scholars and art lovers alike, with photography detailing fronts, backs and stitching of fifty breath-taking quilts from the Faith and Stephen Brown collection of Amish Quilts at the Smithsonian American Art Museum. Assembled over the span of nearly five decades, these extraordinary examples expand our understanding of the distinctive aesthetics that Amish women shaped within and for their communities. They situate Amish quilts within the larger scope of quilts in America as well as within the American art story.
In the main essay, Janneken Smucker--professor, historian and scholar of Amish quilts and culture--explains what unites and distinguishes the Amish and their arts and describes the sometimes fine line between personal artistry and communal practice. Her insightful text illuminates the ways in which Amish quilt patterns overlap and diverge from community to community. Through a series of discursive entries, Smucker considers visual clues for reading and interpreting Amish quilts, which are often more complex and curious than they might first appear.
The Triumph of Nature returns us vividly to an entrancing time in European decorative arts, from its beginnings in the Arts and Crafts movement and Japonisme, through to its evolution into Art Deco style.
An exuberant, radical style, Art Nouveau blithely trampled many of the Victorian Age's orthodoxies of art and design. Exploding age-old strictures with its fanciful approach to furniture, graphic arts, jewelry, architecture and more, Art Nouveau also embraced new technologies and incorporated foreign stylistic flourishes. Designing for a range of clients and settings including domestic interiors, innovative artists such as de Feure, Majorelle, and Gallé fashioned their eclectic works to play off each other in harmonious visual arrangements, conceiving of Art Nouveau as an enveloping style.
This stunningly illustrated comprehensive volume gathers a profusion of Art Nouveau works and accessories--furniture, paintings, sculpture, mosaics, books, posters, prints, lamps, glass, and other stunning objets d'art--all of them originally designed and coordinated to complement each other in elaborate ensembles.
A fresh look at the groundbreaking artistic collaborations of the Ballets Russes, illuminated by a rich trove of visual material including music manuscripts, dance notations, stage and costume designs, and photographs of performers.
This book celebrates one of the world's finest private
gathering of music manuscripts, held on deposit at the Morgan Library. Robert Owen Lehman's superb collection of French and Russian ballet scores, including Firebird, Petrushka, Afternoon of a Faun, Bolero, and many more, are shown here for the first time alongside the vivid stage designs and rarely seen choreographic notations for these ballets. Together they offer a fresh view into Serge Diaghilev's famed Ballets Russes troupe and its revitalization of ballet that roiled Paris in the first decades of the twentieth century. These influential ballets and their creators--composers Igor Stravinsky, Claude Debussy, and Maurice Ravel, choreographers Michel Fokine, Vaslav Nijinsky, and Bronislava Nijinska, and artists Léon Bakst, Alexandre Benois, and Natalia Goncharova--set a new agenda for European art. As the 1930s began, a new international era of modern ballet was underway.
Bold, stately, and elegant furniture is revealed in this entirely new survey of design, regional varieties and workshop collaborations in the American East Coast in the early nineteenth century.
Kelly C. and Randall A. Schrimsher began collecting American Classical decorative art in the mid-1980s. Their notable collection comprises hundreds of pieces of furniture by some of the most celebrated cabinetmakers from the key centers of Classical furniture production in the United States: Boston, New York, Philadelphia, and Baltimore. Past literature on American Classical furniture has studied the production centers in relative isolation; however, this catalogue's approach explores the rich artistic exchanges and rivalries that existed between the four cities including a selection of works by foremost cabinetmakers Duncan Phyfe, Charles-Honoré Lannuier, Isaac Vose, William Hancock, John and Hugh Finlay, Anthony Quervelle, and Joseph Barry. A lively export trade introduced Classical wares from these major centers of production to key ports across the United States such as Washington, D.C., Charleston, New Orleans, and beyond.
Wonderful examples by esteemed cabinetmakers and their workshops illustrate regional varieties, collaborations, and points of departure. In addition to the 85 full-page color illustrations of furniture, the book features over 150 additional comparative illustrations of pattern books, architectural designs, historical views, and detailed photos of carving, gilding, and painted surfaces.
The list of authors includes the Decorative Arts Trust's Executive Director and current and past members of its Board of Governors: Alexandra Alevizatos Kirtley, Christine Thomson, Clark Pearce, Gregory R. Weidman, Kimberly E. Schrimsher, Matthew A. Thurlow, Peter M. Kenny, and Wendy A. Cooper.
All proceeds benefit the Decorative Arts Trust's Publishing Grants program.
An entirely new exploration of the life and career of the expat American artist Julius LeBlanc Stewart (1855-1919), who spent nearly all his life in Paris, and whose oil paintings feature in private collections and those of many major museums on both sides of the Atlantic.
Stewart's paintings are highly engaging and attractive, covering a broad cross-section of later nineteenth- and early twentieth-century American Expat Parisian high society, its genteel past-times, and travel, in a style of painting that was uniquely his own, and that was lauded in both Europe and America. This new volume presents over seventy major paintings, pastels and drawings across thematic sections, with a new introduction to Stewart's life, career, and world through essays by major specialists on nineteenth and early twentieth century American art and history.
The authors look variously at Stewart's early career and training at the École des Beaux-Arts, his later tutelage under French and Spanish masters, Eduardo Zamacoïs, Jean-Léon Gérôme, and Raimundo Madrazo, his family's involvement in the production of sugar; then the world of the American Expat society in which Stewart circulated, and the evolution Stewart's later style, in the mid 1880s towards multi-figured, narrative scenes of his family, friends and meticulous depictions of their costumes; then for a brief period later the sensuous Arcadian nudes bathed in sunlight, celebrating the attributes of Diana and the Bachenates. Collectively these provide the first major exploration of Stewart's world and work with, new contribution to our understanding of the importance and legacy of his art, and his advocation for his community of fellow American artists in France.
A major new volume celebrating the lithographs of George Wesley Bellows, regarded as one of America's greatest artists.
George Bellows (1882-1925) was a painter, illustrator, and printmaker. His career established, in late 1915 he turned to lithography. Over the next nine years he almost single-handedly elevated lithography in America to a fine art. The inherent flexibility of the process, its potential for drawing in vigorous strokes and its richness of tone were well suited to his style. The subjects that fascinated him range from intimate studies of his family and friends to snap shots of American life, the atrocities of World War I, and what first caught the public's attention, Boxing. All were new and undeniably American. George Bellows; American Life in Print features two essays: Bellows, Advocate for Lithography with in depth examination of sixty-six lithographs and drawings. A second essay explores the artist's rise to fame in Bellows and the 'Art Palace of the West, ' focusing on his long term relationship with the Cincinnati Art Museum and it's Annual Exhibition of American Art.
New volume in the Frick Diptych series features an illuminating essay by curator Anna-Claire Stinebring paired with a contribution by artist Salman Toor.
One of the greatest Netherlandish painters of the sixteenth century, Pieter Bruegel the Elder (ca. 1525-1569) is best known for his landscapes and peasant scenes. One of only three signed works by Bruegel in the United States, The Three Soldiers was once in the celebrated collection of Charles I of England. The small panel in grisaille (shades of gray) represents a trio of Landsknechte, the mercenary foot soldiers whose flamboyant costumes and poses were a popular subject for printmakers of the period. This volume considers the artistic and political environment of the time and investigates how a colorful subject is transformed by its translation into monochrome.
Designed to foster critical engagement and interest specialist and non-specialist alike, each book in this series illuminates a single work in the Frick's rich collection with an essay by an art historian paired with a contribution from a contemporary artist or writer.
Presenting over fifty works by a broad cross-section of major artists, this new volume captures the huge and lasting impact of the railroad on America through the eyes of the artists who witnessed its expansion.
All Aboard covers the environmental impact of the railroad on the environment and social landscape; its role in the western expansion of the USA, and the lasting and hugely detrimental impact of this on Native American populations. A wide array of comparative images includes archival and historic views, other related artworks and ephemera, as well as a railroad map.In the early years of the nineteenth century artists including Thomas Cole and George Inness, of the Hudson River School, feared the impact of the railroad on the natural landscape; later artists were inspired by the newly opened-up landscapes of the West, including Albert Bierstadt and Theodore Kaufmann; others like Edward Hopper, Jacob Lawrence, Reginald Marsh, George Bellows, and John Sloan, were fascinated by movement of freight and people across the railroad network. Ben Shahn, Tomas Hart Benton, and Joe Jones's portrayals of railroad workers become emblems of the very backbone of America on which the country's social and industrial expansion was built.Such industrial expansion is captured in the dramatic views of Pittsburgh and mid-west industry in paintings by Otto Kuhler, George Luks, and Charles Sheeler. And finally, there are a raft of artists for whom the railroad was both at the heart of a great new machine age, celebrated in paintings by Georgia O'Keeffe, John Marin, Joseph Stella, and Charles Goeller, but also the creator of a more lonely and alienated urban industrial world, most strongly captured in Edward Hopper's railroad landscapes.
A significant addition to the fascinating study of rare and intriguing late 18th- and early 19th-century eye miniatures.
Until the early 2000s, little had been written about eye miniatures or Lover's Eyes, and their short-lived popularity at the end of the eighteenth- and early nineteenth-centuries, when hand-painted portraits of single human eyes were set in jewelry, or created to memorialize a deceased loved one. This volume examines their role in the broader context of Georgian and early Victorian portrait miniatures; and looks in detail at the creation, and appeal, of these extraordinary objects.
Dr and Mrs. David A. Skier's collection of eye miniatures is one of the most complete collections of this genre of miniature painting in existence. This volume features over 130 pieces from the Skier Collection, with 36 extraordinary newly acquired pieces, including two of the three known existing Lover's Lips, and six examples of a delightful sub-category known as Flower Eyes. There are illustrated essays on forgeries and fakes of lovers' eyes, on Flower Eyes, on the persistence of the eye image which continues the tradition of lovers' eyes, and an essay on the eye miniatures created by Richard Cosway.
The first major monographic publication in English on the work of Blanche Hoschedé-Monet (1865-1947), the step-daughter, and later, daughter-in-law, of Claude Monet.
Accompanying an eponymous exhibition, Blanche Hoschedé-Monet in the Light is the first volume to introduce this important woman artist, whose life and work were shaped by the artistic community she helped build at Giverny, and is the result of a long-term collaboration between French and American scholars. Across four essays, the authors approach Hoschedé-Monet's art and life through a variety of viewpoints. Drawing on previously unpublished sources, including Blanche's sketchbook, and new photography of Hoschedé-Monet's largely unknown artworks, this new book constitutes a definitive account of her life and art.
The volume brings together approximately forty-six paintings from both French and American public and private collections, the vast majority of which have never been on seen in the United States. Three paintings by Claude Monet-- Le Bassin d'Argenteuil (1874), Cliff Walk at Pourville (1882), and Morning on the Seine, Giverny (1897) illustrate points of comparison and divergence between Claude Monet and Blanche Hoschedé, the only one of the Hoschedé or Monet children to pursue painting.
A wide-ranging study of the intertwined notions of home and homeland that were central to the art and material culture of Denmark, Norway, Sweden, and Finland in the second half of the nineteenth century.
The arts played a crucial role in reinforcing a shared sense of belonging amongst Nordic countries as they strove to identify and celebrate authentic local and national identities. Home was a central metaphor in the nation building activities of each country. The links between land, landscape, handicraft and domestic dwellings as dimensions of home are embedded in this survey which brings the extensive collection of David and Susan Werner into public view for the first time.
The catalogue encompasses an impressive range of paintings, drawings, furniture, textiles, glass, metalwork, and ceramics. Highlights include rare tapestries and a wooden cabinet by Norwegian artist Gerhard Munthe, Finnish ceramics by Alfred William Finch, landscape paintings by Hilma af Klint, Akseli Gallen-Kallela, Gustav Fjaestad and Pekka Halonen, and functional objects by outstanding handicraft artists covering embroidery, metalwork and wooden implements.
An English/French bilingual volume that traces the enduring legacy of geometric abstraction through the last six decades of electronic art and culture.
One of the most popular artistic styles of the twentieth century, Op art transformed European geometric abstraction into a global phenomenon in the mid-1960s. Its disorienting patterns and illusions, rendered with machine-like precision, became icons of the futuristic Space Age. As the 1960s faded, Op became a short-lived fad, dismissed by art historians and critics as visual kitsch. Over the last 15 years, however, many museums have re-introduced Op to audiences who enthusiastically embrace it as a reflection of contemporary life. Emerging at precisely the same time as mainstream video technologies and the modern digital computer, Op helped shape the aesthetics of electronic media, becoming the first artistic movement of the Information Age.
Juxtaposing plates of approximately 123 artworks by 88 international artists and collectives from the 1960s to the present (including Victor Vasarely, Vera Molnar, Lillian Schwartz, JODI, Ryoji Ikeda, and Cory Arcangel), Electric Op offers a scholarly re-evaluation of the legacy of abstraction and the surprisingly intertwined histories of contemporary and digital art. It is also a blockbuster of dazzling works that appeal to all ages, including iconic masterpieces alongside rarely-seen gems. Outstanding works from the collections of the Buffalo AKG Art Museum and the Musée d'arts de Nantes are supplemented with key loans from other major museums, private collections, and artists.
New volume in the Frick Diptych series features an illuminating essay by Frick deputy director and Peter Jay Sharp Chief Curator Xavier F. Salomon paired with a text by award-winning author Hisham Matar.
Francisco de Goya y Lucientes (1746-1828) is among the most important Spanish artists of the late 18th and early 19th centuries. A late masterpiece, his Forge derives from the mythological theme of the forge of Vulcan, the metalworker of the Olympian gods. The figures in Goya's monumental, haunting painting are instead muscular laborers at work around a blacksmith's anvil. Salomon's deeply researched text is complemented by a poetic piece by Matar.
Designed to foster critical engagement and interest specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick's rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer.
This, the fifth volume in the series Double Exposure, presents fifty images of African Americans in uniform, from the Civil War to the War in Iraq. The selection of photographs, which exemplify stories of patriotism, courage, and dignity, are enriched by the unique perspective of Frank Bolden, Jr., 12th Administrator of NASA and Gail Lumet Buckley, author of American Patriots. Photographers include Anthony Barboza, a staff photographer in the U.S. Navy, Henry Clay Anderson who studied photography at Southern University under the G.I. Bill, and Robert Scurlock whose famous photographs of the Tuskegee Airmen still live with us today.
Volume 3 of Double Exposure highlights NMAAHC's rich collection of photographs of African American women, some of whom are cultural icons. This volume demonstrates the dignity, joy, heartbreak, commitment, and sacrifice of women of all ages and backgrounds, with photographs by Henri Cartier-Bresson, Beverly Conley, Robert Galbraith, Ernest C. Withers, Wayne F. Miller, P.H. Polk, Joe Schwartz, and Milton Williams.
Aligned to Common Core Standards
Natasha Trethewey was the United States Poet Laureate 2012-2013. She has written an original essay and reprinted two poems for this title.
Kinshasha Holman Conwill is the deputy director of the Smithsonian National Museum of African American History and Culture.