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In the Mind’s Eye opens new avenues of inquiry about the
Caribbean island which has played an outsized role in global
politics, economics, and culture. For centuries an Edenic image of
fantasy and escapism has been projected onto Cuba by observers from
North America and Europe. Until recent times, the harsh historical
and contemporary realities of servitude, racial strife, and
environmental degradation rarely colored artists portrayal of the
country, presenting a skewed perspective on this nation. While the
dynamics of the Revolution in 1959 frame many conversations about
Cuba, this volume seeks a longer historical trajectory by focusing
on the 19th century—with visual interpretations and commentary by
21st-century artists. American artists William Glackens, Childe
Hassam, Winslow Homer, and Willard Metcalf are featured alongside
contemporary artists including Juan Carlos Alom, María Magdalena
Campos-Pons, and Juana Valdes. Two new interviews with artists
Juana Valdes and Carlos Martiel conducted by Donette Francis and
Elvia Rosa Castro highlight the importance of contemporary Cuban
art.
Between the 1890s and the 1930s, movie going became an established
feature of everyday life across America. Movies constituted an
enormous visual data bank and changed the way artist and public
alike interpreted images. This book explores modern painting as a
response to, and an appropriation of, the aesthetic possibilities
pried open by cinema from its invention until the outbreak of World
War II, when both the art world and the film industry changed
substantially. Artists were watching movies, filmmakers studied
fine arts; the membrane between media was porous, allowing for
fluid exchange. Each chapter focuses on a suite of films and
paintings, broken down into facets and then reassembled to
elucidate the distinctive art-film nexus at successive historic
moments.
Fidelia Bridges (1834-1923) painted pictures that critics praised
for their ability to exude the fragrance of field flowers and glow
with the plumage of birds. Raised in Salem and long residing in
Connecticut, she maintained a studio in New York City, where she
exhibited her art for over forty years at the National Academy,
American Watercolor Society and other prestigious venues.
Transforming flower painting from a domestic outlet for female
amateurs to a marketable commodity for professionals, she never
wavered in her conviction that women had the right to shape
independent careers on their own terms. She delineated both
cultivated flowers and clumps of weeds with an intensity of focus
unmatched by any other artist of her era. Often, she combined
plants with local birds to convey a sophisticated understanding of
their environmental interaction that encouraged others to
appreciate and conserve nature. She made an extended European tour
in the 1860s and regular trips to Great Britain in later years but
preferred home nature. Assembling a cross-section of her stunning
oil paintings, watercolours, chromolithographs and illustrated
volumes for the first time, and analysing them against letters,
diaries and periodical reviews, Fidelia Bridges combines a recovery
of the artist's biography with close readings of her artworks.
Living an outwardly conventional life, she embraced the bicycle and
later the automobile as vehicles of female liberation, cultivated
her garden with the skill of a horticulturalist, and left a lasting
pictorial legacy to be found in US public museums and private
collections nationwide.
Between the 1890s and the 1930s, movie going became an established
feature of everyday life across America. Movies constituted an
enormous visual data bank and changed the way artist and public
alike interpreted images. This book explores modern painting as a
response to, and an appropriation of, the aesthetic possibilities
pried open by cinema from its invention until the outbreak of World
War II, when both the art world and the film industry changed
substantially. Artists were watching movies, filmmakers studied
fine arts; the membrane between media was porous, allowing for
fluid exchange. Each chapter focuses on a suite of films and
paintings, broken down into facets and then reassembled to
elucidate the distinctive art-film nexus at successive historic
moments.
Following the U.S.-Mexican War (1846-1848), lands that had for
centuries belonged to New Spain, and later to Mexico, were
transformed into the thirty-first state in the United States. This
process was facilitated by visual artists, who forged distinct
pictorial motifs and symbols to establish the state's new identity.
This collective cultural inheritance of the Spanish and Mexican
periods forms a central current of California history but has been
only sparingly studied by cultural and art historians. California
Mexicana focuses for the first time on the range and vitality of
artistic traditions growing out of the unique amalgam of Mexican
and American culture that evolved in Southern California from 1820
through 1930. A study of these early regional manifestations
provides the essential matrix out of which emerge later art and
cultural issues. Featuring painters, printmakers, photographers,
and mapmakers from both sides of the border, this collection
demonstrates how they made the Mexican presence visible in their
art. This beautifully illustrated catalogue addresses two key areas
of inquiry: how Mexico became California, and how the visual arts
reflected the shifting identity that grew out of that
transformation. Published in association with the Laguna Art
Museum, and as part of the Getty's Pacific Standard Time: LA/LA.
Exhibition dates: Laguna Art Museum: October 15, 2017-January 14,
2018
Eliza Pratt Greatorex (1819-1897) was America's most famous woman
artist in the mid-nineteenth century, but today she is all but
forgotten. Beginning with her Irish roots, this biography brings
her art and life back into focus. Breaking conventions for female
artists at that time, Greatorex specialized in landscapes and
streetscapes, traveling from the Hudson River to the Colorado
Rockies and across Europe and North Africa. Her crowning
achievement, a monumental tome of drawings and narratives titled
Old New York, awakened the public to the destruction of the city's
architectural heritage during the post-Civil War era. Exploring
Greatorex's fierce ambition and creative path, Katherine Manthorne
reveals how her success at forging an independent career in a
male-dominated world shaped American gender politics, visual
culture, and urban consciousness.
Recover the stories of long-overlooked American women who, at a
time when women rarely worked outside the home, became commercial
photographers and shaped the new, challenging medium. Covering two
generations of photographers ranging from New York City to
Californias mining districts, this study goes beyond a broad survey
and explores individual careers through primary sources and new
materials. Profiles of the photographers animate their careers by
exploring how they began, the details of running their own studios,
and their visual output. The featured photos vary in
formdaguerreotype, tintype, carte de visite, and moreand subject,
including Civil War portraits, postmortem photography, and
landscape photography. This welcome resource fills in gaps in
photographic, American, and women's history and convincingly lays
out the parallels between the growth of photography as an available
medium and the late-19th-century women's movement.
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