This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies' concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

This book offers microhistories related to the transnational circulations of impressionism in the late nineteenth and early twentieth centuries. The contributors rethink the role of "French" impressionism in shaping these iterations by placing France within its global and imperialist context and arguing that impressionisms might be framed through the mobility studies' concept of "constellations of mobility." Artists engaging with impressionism in France, as in other global contexts, relied on, responded to, appropriated, and resisted elements of form and content based on fluid and interconnected political realities and market structures. Written by scholars and curators, the chapters demand reconsideration of impressionism as a historical construct and the meanings assigned to that term. This project frames future discussion in art history, cultural studies, and global studies on the politics of appropriating impressionism.

A new look at French Orientalism’s influence on the art of the American West, showing how aesthetics and ideology jointly informed approaches to colonialism and expansion during the nineteenth and early twentieth centuries in both France and the United States From the 1830s to the 1920s, American artists such as Alfred Jacob Miller, George de Forest Brush, Joseph H. Sharp, Bert Geer Phillips, and Ernest Blumenschein traveled to France to study their craft. Returning from abroad, these artists looked to the American West in search of new subjects. Influenced by French Orientalists such as Eugène Delacroix, Eugène Fromentin, and Jean-Léon Gérôme, the American artists applied an Orientalist aesthetic and ideology to their paintings, sculptures, and drawings, while at the same time creating works that appeared uniquely American. Exploring the ways that the visual tropes and knowledge structures of Orientalism influenced French and American colonialism and expansion, this volume considers the impact of French artistic techniques and tropes on the development of western American art. Other themes include the symbolism of desert landscapes and exotic animals, the role of world’s fairs in disseminating Orientalist spectacles and stereotypes, and the importance of artistic pilgrimage to the deserts of North Africa and the American Southwest. Historical and contemporary perspectives of Indigenous peoples of North America, Muslim Americans, and Arab Americans challenge, negotiate, and provide alternative perspectives to the artworks. Distributed for the Denver Art Museum Exhibition Schedule: Denver Art Museum (March 5–May 28, 2023)

As one of America's most prominent nineteenth-century painters, Albert Bierstadt (1830-1902) is justly renowned for his majestic paintings of the western landscape. Yet Bierstadt was also a painter of history, and his figural works, replete with images of Plains Indians and the American bison, are an important part of his legacy as well. This splendid full-color volume highlights his achievements in chronicling a rapidly changing American West. Born in Germany, Bierstadt rose to prominence as an American artist in the late 1850s and enjoyed nearly two decades of critical success. His paintings propelled him to the forefront of the American art scene, but they also met with reproach from his peers and critics in the press who viewed his painting style as outmoded. Bierstadt's star has both risen and fallen as modern art historians have reconsidered his complex oeuvre. This volume takes a major step in reappraising Bierstadt's contributions by reexamining the artist through a new lens. It shows how Bierstadt conveyed moral messages through his paintings, often to preserve the dignity of Native peoples and call attention to the tragic slaughter of the American bison. More broadly, the book reconsiders the artist's engagement with contemporary political and social debates surrounding wildlife conservation in America, the creation and perpetuation of national parks, and the prospects for the West's indigenous peoples. Bierstadt's final history paintings, including his dual masterworks titled The Last of the Buffalo - a special focus of this volume - stand out as elegiac odes to an earlier era, giving voice to concerns about the intertwined fates of Native peoples and endangered wildlife, especially bison. Along with its rich sampling of Bierstadt's diverse artwork, Albert Bierstadt: Witness to a Changing West features informative essays by noted curators, scholars of art history, and historians of the American West.

A beautifully illustrated account of the Impressionist experiment in the United States-showing how the French style was put to distinctly American use From the late 19th century to the Second World War, American painters adapted Impressionism to their own ends, shaping one of the most enduring, complex, and contradictory styles of art ever produced in the United States. This comprehensive book presents an original and nuanced history of the American engagement with the French style, one that was both richer and more ambivalent than mere imitation. Showcasing key works from public and private collections across the United States, this expansive catalogue contextualizes celebrated figures, such as Claude Monet (1840-1926) and William Merritt Chase (1849-1916), among their unduly overlooked-and often female-counterparts, such as Lilla Cabot Perry (1848-1933), Emma Richardson Cherry (1859-1954), and Evelyn McCormick (1862-1948). Essays from leading scholars of the movement expand upon the geography and chronology of Impressionism in America, investigating regional variants and new avenues opened by the experiment. Beautifully illustrated, this volume is a landmark event in the understanding of an important era in American art.

When Buffalo Bill's Wild West show traveled to Paris in 1889, the New York Times reported that the exhibition would be ""managed to suit French ideas."" But where had those ""French ideas"" of the American West come from? And how had they, in turn, shaped the notions of ""cowboys and Indians"" that captivated the French imagination during the Gilded Age? In Transnational Frontiers, Emily C. Burns maps the complex fin-de-siecle cultural exchanges that revealed, defined, and altered images of the American West. This lavishly illustrated visual history shows how American artists, writers, and tourists traveling to France exported the dominant frontier narrative that presupposed manifest destiny - and how Native American performers with Buffalo Bill's Wild West and other traveling groups challenged that view. Many French artists and illustrators plied this imagery as well. At the 1900 World's Fair in Paris, sculptures of American cowboys conjured a dynamic and adventurous West, while portraits of American Indians on vases evoked an indigenous people frozen in primitivity. At the same time, representations of Lakota performers, as well as the performers themselves, deftly negotiated the politics of American Indian assimilation and sought alternative spaces abroad. For French artists and enthusiasts, the West served as a fulcrum for the construction of an American cultural identity, offering a chance to debate ideas of primitivism and masculinity that bolstered their own colonialist discourses. By examining this process, Burns reveals the interconnections between American western art and Franco-American artistic exchange between 1865 and 1915.