Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Arthur Dove, often credited as America’s first abstract painter, created dynamic and evocative images inspired by his surroundings, from the farmland of upstate New York to the North Shore of Long Island. But his interests were not limited to nature. Challenging earlier accounts that view him as simply a landscape painter, Arthur Dove: Always Connect reveals for the first time the artist’s intense engagement with language, the nature of social interaction, and scientific and technological advances. Rachael Z. DeLue rejects the traditional assumption that Dove can only be understood in terms of his nature paintings and association with photographer and gallerist Alfred Stieglitz and his circle. Instead, she uncovers deep and complex connections between Dove’s work and his world, including avant-garde literature, popular music, meteorology, mathematics, aviation, and World War II. Arthur Dove also offers the first sustained account of Dove’s Dadaesque multimedia projects and the first explorations of his animal imagery and the role of humor in his art. Beautifully illustrated with works from all periods of Dove’s career, this book presents a new vision of one of America’s most innovative and captivating artists—and reimagines how the story of modern art in the United States might be told.

Dove, Arthur Garfield, --- Criticism and interpretation. --- arthur dove, abstract art, painting, nature, landscape, farmland, upstate new york, north shore, long island, stieglitz, artist, in the american grain, language, society, interaction, science, technology, progress, social change, avant garde, popular music, culture, meteorology, math, aviation, world war 2, multimedia, dada, modernism, animal imagery, criticism, appreciation, nonfiction, interpretation, weather, sound, clouds, circles.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry-including optics, psychology, physiology, and mathematics-with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape-the first in-depth examination of Inness's career to appear in several decades-demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.

Landscape painting, American --- Spirituality in art. --- Landscape painting --- Inness, George, --- Criticism and interpretation. --- landscape, painting, painter, art, countryside, nature, george inness, mathematics, physiology, psychology, optics, visibility, mysticism, invisibility, spirit, perception, expression, science, labor, vision, memory, unity, allegory, past, nostalgia, spiritual sight, methodology, nonfiction, criticism, god, divinity, religion, christianity.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Art [American ] --- Art américain --- Beeld (Filosofie) --- Image (Philosophie) --- Image (Philosophy) --- Kunst [Amerikaanse ] --- Art, American. --- Art and society --- ART / History / General. --- Image (Philosophy). --- Art, american. --- Image (philosophy). --- Art / history / general. --- United States

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Ce volume présente pour la première fois une série récemment redécouverte de dessins au crayon datant du début des années 1990, à travers lesquels Wyeth a imaginé ses propres funérailles. Les chapitres rédigés par d'éminents historiens de l'art explorent la signification de la représentation de sa propre mort dans le contexte de la fin de carrière de Wyeth et de l'art américain contemporain. L'ouvrage établit un lien entre la série d'enterrements et l'engagement de Wyeth, depuis des décennies, envers la mort en tant que sujet artistique dans la peinture, ses relations avec les modèles représentés et son utilisation du dessin comme moyen d'expression et d'exploration. Elle insère en outre l'œuvre de Wyeth dans une conversation plus large sur la mortalité et l'autoportrait qui s'est développée dans l'art américain depuis les années 1960, et comprend des œuvres de Duane Michals, Andy Warhol, David Wojnarowicz, George Tooker, Janaina Tschäpe et Mario Moore. Si ses contemporains ont posé diverses questions existentielles en illustrant leur propre disparition, celles qui interrogent l'universalité de la mort en tant qu'expérience humaine sont devenues particulièrement urgentes à la suite de la pandémie de coronavirus et de la prise de conscience nationale des inégalités raciales qui a eu lieu en 2020. "Andrew Wyeth : Life and Death" aborde ainsi les idées sur la perte, le deuil, la vulnérabilité et l'(im)mortalité qui imprègnent le moment présent. Le peintre américain Andrew Wyeth (1917-2009) a vécu toute sa vie dans sa ville natale de Chadds Ford, en Pennsylvanie, et dans sa résidence d'été au milieu de la côte du Maine. Il a consacré sept décennies de sa carrière à peindre la terre et les gens qu'il connaissait et auxquels il tenait. Célèbre pour sa peinture à la détrempe Christina's World (1948), Wyeth a navigué entre représentation artistique et abstraction d'une manière très personnelle.

Mort