Alternately praised as "an American original" and lampooned as
an arbiter of kitsch, the regionalist painter Thomas Hart Benton
has been the subject of myriad monographs and journal articles,
remaining almost as controversial today as he was in his own time.
Missing from this literature, however, is an understanding of the
profound ways in which sound figures in the artist's enterprises.
Prolonged attention to the sonic realm yields rich insights into
long-established narratives, corroborating some but challenging and
complicating at least as many. A self-taught and frequently
performing musician who invented a harmonica tablature notation
system, Benton was also a collector, cataloguer, transcriber, and
distributor of popular music. In Thomas Hart Benton and the
American Sound, Leo Mazow shows that the artist's musical imagery
was part of a larger belief in the capacity of sound to register
and convey meaning. In Benton's pictorial universe, it is through
sound that stories are told, opinions are voiced, experiences are
preserved, and history is recorded.
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