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Drawing on unpublished archival sources, this book reconstitutes the experiences of a wide range of American artists, critics, and writers working in Rome in a charged environment of “Cold War cosmopolitanism.” After the Second World War, American artists flocked to Rome in record numbers, even as the United States shored up Italy as a bulwark against the spread of Communism. While the market for modern art in Rome was less vigorous as those in Paris and New York, numerous galleries, artist-run spaces, and other institutions acted as important catalysts, making Rome an international artistic hub. The city attracted now canonical figures Lee Bontecou, Philip Guston, Robert Rauschenberg, P...
An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students.
In Artistic Reconfigurations of Rome Kaspar Thormod examines how visions of Rome manifest themselves in artworks produced by international artists who have stayed at the city’s foreign academies. Structured as an alternative guide to Rome, the book represents an interdisciplinary approach to creating a dynamic visual history that brings into view facets of the city’s diverse contemporary character. Thormod demonstrates that when artists successfully reconfigure Rome they provide us with visions that, being anchored in a present, undermine the connotations of permanence and immovability that cling to the ‘Eternal City’ epithet. Looking at the work of these artists, the reader is invited to engage critically with the question: what is Rome today? – or perhaps better: what can Rome be?
"Explores visual culture and the social history of art through an analysis of French images of nineteenth-century Algeria"--Provided by publisher.
The book examines military paintings in France in the 1850s and 1860s, when the genre experienced a new lease of life. It recreates the paintings’ art-historical, historical and social context, and considers the explosion of military subjects in their own right rather than as a consequence of war reporting. The paintings’ entertainment value effectively communicated political agendas, catering to the emerging phenomenon of mass spectatorship and giving rise to innovative compositions. The book also looks at the other side of the artistic spectrum, proposing that smaller formats adapted the sentimental techniques of military memoirs to focus on the soldiers’ experiences of warfare and to elicit a critique of war.
The concluding volume to the first biography of one of the most important, influential, and beloved twentieth-century sculptors, and one of the greatest artists in the cultural history of America--is a vividly written, illuminating account of his triumphant later years. The second and final volume of this magnificent biography begins during World War II, when Calder--known to all as Sandy--and his wife, Louisa, opened their home to a stream of artists and writers in exile from Europe. In the postwar decades, they divided their time between the United States and France, as Calder made his first monumental public sculptures and received blockbuster commissions that included Expo '67 in Montrea...
Focusing on the period of the Second World War, this book explores the emergence of surrealist landscape as a genre throughout the period of surrealist exile in the Americas. By positioning surrealist landscape within the formal, iconographic, and theoretical strategies of the larger movement as well as within the historical context of war and exile, the volume encompasses critical and historical discussions from a broad spectrum of interrelated fields including psychology, anthropology, military history, art history, and ecocriticism. Central to this book are the landscapes of Max Ernst who, along with transplanted European surrealists, Wolfgang Paalen and Kurt Seligmann, revitalized a Roma...
1918/20- include also the Report of the Rural Credit Dept.