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James McNeill Whistler and France: A Dialogue in Paint, Poetry, and
Music is the first full-length and in-depth study to position this
painter within the overall trajectory of French modernism during
the second half of the nineteenth century and to view the artist as
integral to the aesthetic projects of its most original
contributors. Suzanne M. Singletary maintains that Whistler was in
a unique situation as an insider within the emerging French
avant-garde, thereby in an enviable position to both absorb and
transform the innovations of others - and that until now, his
widespread influence as a catalyst among his colleagues has been
neither investigated nor appreciated. Singletary contends that
Whistler's importance rivals that of Manet, whose multi-layered
(and often unexpected) interconnections with Whistler are the focus
of one chapter. In addition, Whistler's pivotal role in linking the
legacies of Baudelaire, Delacroix, Gautier, Wagner, and other
mid-century innovators to the later French Symbolists has
previously been largely ignored. Courbet, Degas, Monet, and Seurat
complete the roster of French artists whose dialogue with Whistler
is highlighted.
James McNeill Whistler and France: A Dialogue in Paint, Poetry, and
Music is the first full-length and in-depth study to position this
painter within the overall trajectory of French modernism during
the second half of the nineteenth century and to view the artist as
integral to the aesthetic projects of its most original
contributors. Suzanne M. Singletary maintains that Whistler was in
a unique situation as an insider within the emerging French
avant-garde, thereby in an enviable position to both absorb and
transform the innovations of others - and that until now, his
widespread influence as a catalyst among his colleagues has been
neither investigated nor appreciated. Singletary contends that
Whistler's importance rivals that of Manet, whose multi-layered
(and often unexpected) interconnections with Whistler are the focus
of one chapter. In addition, Whistler's pivotal role in linking the
legacies of Baudelaire, Delacroix, Gautier, Wagner, and other
mid-century innovators to the later French Symbolists has
previously been largely ignored. Courbet, Degas, Monet, and Seurat
complete the roster of French artists whose dialogue with Whistler
is highlighted.
A revelatory look at an underexplored chapter of American art,
which took place not on American soil but in France "Reveals the
fertile creative ground Americans discovered in Paris and
beyond."-Judith H. Dobrzynski, Wall Street Journal, exhibition
review In the late nineteenth and early twentieth centuries,
American artists flocked to France in search of instruction,
critical acclaim, and patronage. Some, including James McNeill
Whistler, John Singer Sargent, and Mary Cassatt, became highly
regarded in the French press, advancing their careers on both sides
of the Atlantic. Others, notably William Merritt Chase, John
Twachtman, Childe Hassam, and Thomas Wilmer Dewing-part of the
association known as The Ten-found success working in the style of
the French Impressionists, while Henry Ossawa Tanner, Cecilia
Beaux, and Elizabeth Jane Gardner focused on genre and history
subjects. This richly illustrated volume offers a sophisticated
examination of cultural and aesthetic exchange as it highlights
many figures, including artists of color and women, who were left
out of previous histories. Celebrated scholars from both American
and French institutions detail the complex history and diverse
styles of these expatriate artists-styles ranging from conservative
academic modes to Tonalism-and provide original perspectives on
this fertile period of creativity, expanding our understanding of
what constitutes American art. Published in association with the
Denver Art Museum Exhibition Schedule: Denver Art Museum (November
14, 2021-March 13, 2022) Virginia Museum of Fine Arts (April
16-July 31, 2022)
In the East Falls neighbourhood of Philadelphia, just beyond the
northern boundary of the Thomas Jefferson University's East Falls
campus, stands the Hassrick House (1958-61), designed by celebrated
architect Richard Neutra, an icon of mid-century modern style.
Often described as an East Coast interpretation of California
Modernism, the Hassrick House is one of only three buildings
designed by Neutra within the city limits. Thomas Jefferson
University's relationship with the house began in the summer of
2015 when Andrew Hart, assistant professor of Architecture in the
College of Architecture & the Built Environment initiated a
series of summer courses to study the house. The first
multidisciplinary group of students engaged in architectural
survey, drawing, and photography. Subsequent summer courses refined
the architectural drawings, following the Historic American
Buildings Survey (HABS) and Historic American Landscape Survey
(HALS) standards. Yet another student cohort undertook documentary
research to uncover the history of the house and its occupants.
Then owners George Acosta and John Hauser were supportive
collaborators with students in this process. Neutra's architecture
and his relationship with the Hassricks - particularly Barbara who
emerged as the primary client voice while the house was being
designed - captured the hearts, minds, and imaginations of everyone
who engaged with the house. As one student recalled, "We have all
gotten swept away in the stories unfolding from our research." In
2018, Hauser and Acosta sold the property to the university with
the understanding that the house would continue to be used for
educational purposes. In George's words, "I had come to realize
that the students can be the future custodians of that home. They
can be the eyes. They can be the archives. In a way, it becomes all
of ours to share." This publication chronicles the students'
findings that shed light on Neutra's design process, his
collaboration with his clients, as well as the unsung role of
Thaddeus Longstreth as Neutra's proxy negotiator throughout the
design and construction stages. During its approximately 63-year
lifespan, the Hassrick House tells a saga of design, dwelling,
neglect, restoration, and reinvention today as a laboratory for
learning. In many respects, the history of the Hassrick House tells
an important story of the modernist movement in the US, both
regionally and nationally.
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