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Art Wars - The Politics of Taste in Nineteenth-Century New York (Hardcover)
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Art Wars - The Politics of Taste in Nineteenth-Century New York (Hardcover)
Series: America in the Nineteenth Century
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A study of three controversies that illuminate the changing
cultural role of art exhibition in the nineteenth century From the
antebellum era through the Gilded Age, New York City's leading art
institutions were lightning rods for conflict. In the decades
before the Civil War, art promoters believed that aesthetic taste
could foster national unity and assuage urban conflicts; by the
1880s such hopes had faded, and the taste for art assumed more
personal connotations associated with consumption and domestic
decoration. Art Wars chronicles three protracted public battles
that marked this transformation. The first battle began in 1849 and
resulted in the downfall of the American Art-Union, the most
popular and influential art institution in North America at
mid-century. The second erupted in 1880 over the Metropolitan
Museum's massive collection of Cypriot antiquities, which had been
plundered and sold to its trustees by the man who became the
museum's first paid director. The third escalated in the mid-1880s
and forced the Metropolitan Museum to open its doors on Sunday-the
only day when working people were able to attend. In chronicling
these disputes, Rachel N. Klein considers cultural fissures that
ran much deeper than the specific complaints that landed
protagonists in court. New York's major nineteenth-century art
institutions came under intense scrutiny not only because Americans
invested them with moral and civic consequences but also because
they were part and parcel of explosive processes associated with
the rise of industrial capitalism. Elite New Yorkers spearheaded
the creation of the Art-Union and the Metropolitan, but those
institutions became enmeshed in popular struggles related to
slavery, immigration, race, industrial production, and the rights
of working people. Art Wars examines popular engagement with New
York's art institutions and illuminates the changing cultural role
of art exhibition over the course of the nineteenth century.
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