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Books > Arts & Architecture > History of art / art & design styles > Art styles not limited by date
Artist-explorer John Mix Stanley (1814-1872), one of the most
celebrated chroniclers of the American West in his time, was in a
sense a victim of his own success. So highly regarded was his work
that more than two hundred of his paintings were held at the
Smithsonian Institution - where in 1865 a fire destroyed all but
seven of them. This volume, featuring a comprehensive collection of
Stanley's extant art, reproduced in full color, offers an
opportunity - and ample reason - to rediscover the remarkable
accomplishments of this outsize figure of nineteenth-century
American culture. Originally from New York State, Stanley journeyed
west in 1842 to paint Indian life. During the U.S.-Mexican War, he
joined a frontier military expedition and traveled from Santa Fe to
California, producing sketches and paintings of the campaign along
the way - work that helped secure his fame in the following
decades. He was also appointed chief artist for Isaac Stevens's
survey of the 48th parallel for a proposed transcontinental
railroad. The essays in this volume, by noted scholars of American
art, document and reflect on Stanley's life and work from every
angle. The authors consider the artist's experience on government
expeditions; his solo tours among the Oregon settlers and western
and Plains Indians; and his career in Washington and search for
government patronage, as well as his individual works. With
contributions by Emily C. Burns, Scott Manning Stevens, Lisa
Strong, Melissa Speidel, Jacquelyn Sparks, and Emily C. Wilson, the
essays in this volume convey the full scope of John Mix Stanley's
artistic accomplishment and document the unfolding of that uniquely
American vision throughout the artist's colorful life. Together
they restore Stanley to his rightful place in the panorama of
nineteenth-century American life and art.
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Big Japanese Coloring Book
- Oriental Adult and Kids Coloring Book, Japan Lovers Book with Themes Such as Geisha, Sumo, Warriors, Dragons, Kawaii Cats, Japanese Teens, Sushi, Samurai, Temples, Flowers, Cherry Blossom, Manga, Anime, Lions, Fish, Animals
(Paperback)
Oriental Happy Coloring
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R391
Discovery Miles 3 910
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Ships in 10 - 15 working days
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Terracotta Warriors provides an intriguing, original and up-to-date
account of one of the wonders of the ancient world. Illustrated
with a wealth of original photographs, this is the first book
available for the general reader. In one of the most astounding
archaeological discoveries of all time, the Terracotta Warriors
were discovered by chance by farmers in 1974. We now understand
that the excavated pits containing nearly eight thousand warriors
and hundreds of horses are only part of a much grander mausoleum
complex. There is a great deal still to be discovered and
understood about the entire area whichis now thought to cover
around 100 square kilometres. And there is the tantalising
possibility of the opening of the imperial tomb.
Attracted to the rich ceremonial life and unique architecture of
the New Mexico pueblos, many early-twentieth-century artists
depicted Pueblo peoples, places, and culture in paintings. These
artists' encounters with Pueblo Indians fostered their awareness of
Native political struggles and led them to join with Pueblo
communities to champion Indian rights. In this book, art historian
Sascha T. Scott examines the ways in which non-Pueblo and Pueblo
artists advocated for American Indian cultures by confronting some
of the cultural, legal, and political issues of the day. Scott
closely examines the work of five diverse artists, exploring how
their art was shaped by and helped to shape Indian politics. She
places the art within the context of the interwar period, 1915-30,
a time when federal Indian policy shifted away from forced
assimilation and toward preservation of Native cultures. Through
careful analysis of paintings by Ernest L. Blumenschein, John
Sloan, Marsden Hartley, and Awa Tsireh (Alfonso Roybal), Scott
shows how their depictions of thriving Pueblo life and rituals
promoted cultural preservation and challenged the pervasive
romanticizing theme of the ""vanishing Indian."" Georgia O'Keeffe's
images of Pueblo dances, which connect abstraction with lived
experience, testify to the legacy of these political and aesthetic
transformations. Scott makes use of anthropology, history, and
indigenous studies in her art historical narrative. She is one of
the first scholars to address varied responses to issues of
cultural preservation by aesthetically and culturally diverse
artists, including Pueblo painters. Beautifully designed, this book
features nearly sixty artworks reproduced in full color.
What did it mean to be Russian as the imperial era gave way to
Soviet rule? Andrew Jenks turns to a unique art form produced in
the village of Palekh to investigate how artists and craftsmen
helped to reshape Russian national identity. Russia in a Box
follows the development of Palekh art over two centuries as it
adapted to dramatic changes in the Russian nation. As early as the
sixteenth century, the peasant "masters" of Palekh painted
religious icons. It was not until Russia's victory over Napoleon in
1814, however, that the village gained widespread recognition for
its artistic contributions. That same year, the poet Goethe's
discovery of the works of Palekh artists and craftsmen spurred
interest in preserving the sacred art. The religious icons produced
by Palekh masters in the nineteenth century became a source of
Russian national pride. By the 1880s, some artists began to foresee
their future as secular artists-a trend that was ensured by the
Bolshevik Revolution. Tolerated and sometimes even encouraged by
the new regime, the Palekh artists began to create finely decorated
lacquered boxes that portray themes from fairy tales and idealized
Russian history in exquisite miniatures. A new medium with new
subject matter, these lacquered boxes became a new symbol of
Russian identity during the 1920s. Palekh art endured varying
levels of acceptance, denial, state control, and reliance on
market-driven forces. What began as the art form of religious
iconic painting, enduring for more than two centuries, was abruptly
changed by the revolutionaries. Throughout the twentieth century
the fate of Palekh art remained in question as Russia's political
and cultural entities struggled for dominance. Ultimately
capitalism and the Palekhian masters were victorious, and the famed
lacquer boxes continue to be a source of Russian identity and
pride.
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