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The Revolution in the Visual Arts That Began in New York City in the 1950s

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Or American art is visual art made in the United States or by US artists

Visual art of the United states or American art is visual art made in the Usa or by U.S. artists. Earlier colonization in that location were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early on colonial fine art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a way based mainly on English language painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, only in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.

Just in the later 18th century two U.S. artists, Benjamin West and John Singleton Copley, became the most successful painters in London of history painting, and then regarded every bit the highest form of fine art, giving the outset sign of an emerging forcefulness in Western fine art. American artists who remained at home became increasingly skilled, although there was trivial awareness of them in Europe. In the early 19th century the infrastructure to railroad train artists began to be established, and from 1820 the Hudson River Schoolhouse began to produce Romantic landscape painting that was original and matched the huge scale of U.S. landscapes. The American Revolution produced a demand for patriotic art, especially history painting, while other artists recorded the borderland country. A parallel development taking shape in rural U.South. was the American craft movement, which began as a reaction to the industrial revolution.

After 1850 Academic art in the European fashion flourished, and as richer Americans became very wealthy, the catamenia of European fine art, new and old, to the U.s.a. began; this has continued ever since. Museums began to exist opened to brandish much of this. Developments in modern fine art in Europe came to the U.S. from exhibitions in New York City such as the Armory Evidence in 1913. Afterward World War II, New York replaced Paris as the centre of the art world. Since so many U.South. movements have shaped Modern and Postmodern art. Art in the United States today covers a huge range of styles.

Beginnings [edit]

One of the kickoff painters to visit British America was John White (c. 1540 – c. 1606), who fabricated important watercolor records of Native American life on the Eastern seaboard (now in the British Museum). White first visited America as the artist and map-maker for an trek of exploration, and in the early years of the Colonial menses most other artists trained in Western styles were officers in the ground forces and navy, whose training included sketching landscapes. Eventually the English settlements grew large enough to support professional person artists, mostly portrait-painters, oftentimes largely cocky-taught.

Amid the earliest was John Smybert (1688–1751), a trained artist from London who emigrated in 1728 intending to be a professor of fine fine art, simply instead became a portrait painter and printseller in Boston. His friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had shops. Meanwhile, the Spanish territories later to be American could see mostly religious art in the late Baroque style, by and large by native artists, and Native American cultures continued to produce art in their diverse traditions.

Eighteenth century [edit]

After the Declaration of Independence in 1776, which marked the official start of the American national identity, the new nation needed a history, and part of that history would be expressed visually. Well-nigh of early on American art (from the late 18th century through the early 19th century) consists of history painting and especially portraits. As in Colonial America, many of the painters who specialized in portraits were substantially self-taught; notable among them are Joseph Badger, John Brewster Jr., and William Jennys. The young nation'south artists generally emulated the way of British fine art, which they knew through prints and the paintings of English-trained immigrants such every bit John Smibert (1688–1751) and John Wollaston (active 1742–1775).[2]

Robert Feke (1707–1752), an untrained painter of the colonial period, achieved a sophisticated style based on Smibert's case.[3] Charles Willson Peale, who gained much of his earliest fine art grooming by studying Smibert's copies of European paintings,[4] painted portraits of many of the important figures of the American Revolution. Peale'southward younger brother James Peale and half dozen of Peale'south nieces and sons— Anna Claypoole Peale, Sarah Miriam Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. Painters such equally Gilbert Stuart fabricated portraits of the newly elected government officials,[1] which became iconic after being reproduced on various U.S. Postage stamps of the 19th century and early 20th century.[five]

John Singleton Copley painted emblematic portraits for the increasingly prosperous merchant form, including a portrait of Paul Revere (ca. 1768–1770). The original version of his most famous painting, Watson and the Shark (1778), is in the drove of The National Gallery of Fine art[6] while there is another version in the Boston Museum of Fine Arts and a tertiary version in the Detroit Found of Arts. Benjamin Westward painted portraits likewise as history paintings of the French and Indian War. West too worked in London where many American artists studied nether him, including Washington Allston,[7] Ralph Earl, James Earl,[viii] Samuel Morse, Charles Willson Peale, Rembrandt Peale, Gilbert Stuart, John Trumbull, Mather Brown, Edward Savage and Thomas Sully.[9] John Trumbull painted large battle scenes of the Revolutionary War. When landscape was painted it was virtually ofttimes done to show how much property a subject owned, or equally a picturesque background for a portrait.

Choice of works by early American artists [edit]

Nineteenth century [edit]

National Gallery of Art, Washington DC.

The commencement well-known U.S. school of painting—the Hudson River Schoolhouse—appeared in 1820. Thomas Cole pioneered the movement which included Albert Bierstadt, Frederic Edwin Church building, Thomas Doughty and several others. As with music and literature, this development was delayed until artists perceived that the New World offered subjects unique to itself; in this case the westward expansion of settlement brought the transcendent beauty of borderland landscapes to painters' attending.

The Hudson River painters' directness and simplicity of vision influenced and inspired such afterwards artists as John Kensett and the Luminists; likewise as George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock among others), and Winslow Homer (1836–1910), who depicted the rural U.Due south.—the sea, the mountains, and the people who lived near them.

The Hudson River School landscape painter Robert S. Duncanson was one of the kickoff of import African American painters. John James Audubon, an ornithologist whose paintings documented birds, was one of the well-nigh important naturalist artists in the early U.South. His major work, a set of colored prints entitled The Birds of America (1827–1839), is considered i of the finest ornithological works ever completed. Edward Hicks was a U.S. folk painter and distinguished minister of the Social club of Friends. He became a Quaker icon because of his paintings.

Paintings of the Not bad West, many of which emphasized the sheer size of the land and the cultures of the native people living on information technology, became a distinct genre besides. George Catlin depicted the W and its people equally honestly as possible. George Caleb Bingham, and afterwards Frederic Remington, Charles M. Russell, the photographer Edward Southward. Curtis, and others recorded the U.S. Western heritage and the One-time American Due west through their art.

History painting was a less popular genre in U.S. art during the 19th century, although Washington Crossing the Delaware, painted by the German-built-in Emanuel Leutze, is among the best-known U.S. paintings. The historical and armed services paintings of William B. T. Trego were widely published later on his death (according to Edwin A. Peeples, "There is probably not an American History book which doesn't have (a) Trego picture in it").[x]

Portrait painters in the U.S. in the 19th century included untrained limners such as Ammi Phillips, and painters schooled in the European tradition, such as Thomas Sully and G.P.A. Healy. Heart-class metropolis life found its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. As a issue, he was not notably successful in his lifetime, although he has since been recognized as one of the most significant U.Southward. artists.[11] I of his students was Henry Ossawa Tanner, the first African-American painter to achieve international acclaim.

A trompe-l'œil style of still-life painting, originating mainly in Philadelphia, included Raphaelle Peale (i of several artists of the Peale family), William Michael Harnett, and John F. Peto.

The near successful U.S. sculptor of his era, Hiram Powers, left the U.S. in his early thirties to spend the rest of his life in Europe, where he adopted a conventional style for his idealized female nudes such as Eve Tempted.[12] Several important painters who are considered American spent much of their lives in Europe, notably Mary Cassatt, James McNeill Whistler, and John Vocalist Sargent, all of whom were influenced by French Impressionism. Theodore Robinson visited France in 1887, befriended Monet, and became one of the showtime U.S. painters to adopt the new technique. In the final decades of the century American Impressionism, equally practiced past artists such as Childe Hassam and Frank West. Benson, became a popular style.

Choice of notable 19th-century works [edit]

Twentieth century [edit]

Controversy shortly became a way of life for American artists. In fact, much of American painting and sculpture since 1900 has been a series of revolts against tradition. "To hell with the artistic values," appear Robert Henri (1865–1929). He was the leader of what critics called the Ashcan school of painting, after the group's portrayals of the squalid aspects of city life.

American realism became the new management for American visual artists at the turn of the 20th century. The Ashcan painters George Bellows, Everett Shinn, George Benjamin Luks, William Glackens, and John Sloan were among those who developed socially witting imagery in their works. The lensman Alfred Stieglitz (1864–1946) led the Photograph-Secession movement, which created pathways for photography as an emerging fine art form.

Shortly the Ashcan school artists gave way to modernists arriving from Europe—the cubists and abstract painters promoted by Stieglitz at his 291 Gallery in New York Urban center. John Marin, Marsden Hartley, Alfred Henry Maurer, Arthur B. Carles, Arthur Pigeon, Henrietta Shore, Stuart Davis, Wilhelmina Weber, Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Andrew Dasburg, Georgia O'Keeffe, and Gerald Spud were some of import early American modernist painters. Early modernist sculptors in America include William Zorach, Elie Nadelman, and Paul Manship. Florine Stettheimer developed an extremely personal false-naif mode.

After World War I many American artists rejected the modern trends emanating from the Armory Testify and European influences such as those from the School of Paris. Instead they chose to prefer various—in some cases academic—styles of realism in depicting American urban and rural scenes. Grant Woods, Reginald Marsh, Guy Pène du Bois, and Charles Sheeler exemplify the realist tendency in different ways. Sheeler and the modernists Charles Demuth and Ralston Crawford were referred to equally Precisionists for their sharply divers renderings of machines and architectural forms. Edward Hopper, who studied nether Henri, developed an individual style of realism by concentrating on light and class, and avoiding overt social content.

The American Southwest [edit]

Following the first World State of war, the completion of the Santa Fe Railroad enabled American settlers to travel beyond the w, as far equally the California coast. New artists' colonies started growing upwards around Santa Iron and Taos, the artists' principal subject matter being the native people and landscapes of the Southwest.

Images of the Southwest became a pop course of advertizement, used most significantly by the Santa Iron Railroad to entice settlers to come w and enjoy the "unsullied landscapes." Walter Ufer, Bert Geer Phillips, East. Irving Couse, William Henry Jackson, Marsden Hartley, Andrew Dasburg, and Georgia O'Keeffe were some of the more prolific artists of the Southwest. Georgia O'Keeffe, who was born in the late 19th century, became known for her paintings featuring flowers, bones, and landscapes of New Mexico as seen in Ram'due south Head White Hollyhock and Little Hills. O'Keeffe visited the Southwest in 1929 and moved there permanently in 1949; she lived and painted there until she died in 1986.

Harlem Renaissance (1920s-1930s) [edit]

The Harlem Renaissance was another significant development in American art. In the 1920s and 30s a new generation of educated and politically astute African-American men and women emerged who sponsored literary societies and fine art and industrial exhibitions to combat racist stereotypes. The motility, which showcased the range of talents within African-American communities, included artists from across America, merely was centered in Harlem. The work of the Harlem painter and graphic artist Aaron Douglas and the photographer James VanDerZee became emblematic of the movement. Artists associated with the Harlem Renaissance include Romare Bearden, Jacob Lawrence, Charles Alston, Augusta Cruel, Archibald Motley, Lois Mailou Jones, Palmer Hayden and Sargent Johnson.

New Bargain art (1930s) [edit]

When the Great Depression worsened, president Roosevelt'due south New Deal created several public arts programs. The purpose of the programs was to give work to artists and decorate public buildings, usually with a national theme. The get-go of these projects, the Public Works of Art Project (PWAP), was created afterward successful lobbying by the unemployed artists of the Artists Matrimony.[thirteen] The PWAP lasted less than one year, and produced about 15,000 works of fine art. It was followed by the Federal Fine art Project of the Works Progress Administration (FAP/WPA) in 1935, which funded some of the most well-known American artists.[14]

The mode of much of the public art commissioned past the WPA was influenced by the work of Diego Rivera and other artists of the contemporary Mexican muralism motion. Several divide and related movements began and developed during the Groovy Low including American scene painting, Regionalism, and Social Realism.[15] Thomas Hart Benton, John Steuart Back-scratch, Grant Forest, Maxine Albro, Ben Shahn, Joseph Stella, Reginald Marsh, Isaac Soyer, Raphael Soyer, Spencer Baird Nichols and Jack Levine were some of the best-known artists.

Not all of the artists who emerged in the years between the wars were Regionalists or Social Realists; Milton Avery'southward paintings, often nearly abstruse, had a meaning influence on several of the younger artists who would before long become known every bit Abstract Expressionists.[16] Joseph Cornell, inspired by Surrealism, created boxed assemblages incorporating institute objects and collage.

Abstruse expressionism [edit]

Jackson Pollock, Blueish Poles Number 11, 1952, enamel and aluminium paint with glass on canvas, 212.1 10 488.nine cm, National Gallery of Australia. Commencement exhibited in Pollock's studio, Blueish Poles was purchased in 1973 by the Australian authorities for a controversial $1.3 million, becoming the highest toll e'er paid for a painting in the history of Commonwealth of australia.[17] [eighteen]

In the years after World State of war II, a group of New York artists formed the starting time American movement to exert major influence internationally: abstruse expressionism. This term, which had commencement been used in 1919 in Berlin, was used again in 1946 past Robert Coates in The New York Times, and was taken upwards by the ii major art critics of that time, Harold Rosenberg and Clement Greenberg. It has e'er been criticized as besides large and paradoxical, yet the common definition implies the use of abstract art to express feelings, emotions, what is inside the artist, and non what stands without.

The first generation of abstract expressionists included Jackson Pollock, Willem de Kooning, Marking Rothko, Franz Kline, Arshile Gorky, Robert Motherwell, Clyfford Still, Barnett Newman, Adolph Gottlieb, Phillip Guston, Ad Reinhardt, James Brooks, Richard Pousette-Sprint, William Baziotes, Mark Tobey, Bradley Walker Tomlin, Theodoros Stamos, Jack Tworkov, Wilhelmina Weber Furlong, David Smith, and Hans Hofmann, among others. Milton Avery, Lee Krasner, Louise Bourgeois, Alexander Calder, Tony Smith, Morris Graves and others were besides related, important and influential artists during that period.

Though the numerous artists encompassed by this label had widely different styles, contemporary critics plant several common points betwixt them. Gorky, Pollock, de Kooning, Kline, Hofmann, Motherwell, Gottlieb, Rothko, However, Guston, and others were an American painters associated with the abstract expressionist movement and in most cases Action painting (as seen in Kline's Painting Number 2, 1954); equally role of the New York School in the 1940s and 1950s.

Many beginning generation abstract expressionists were influenced both past the Cubists' works (which they knew from photographs in art reviews and past seeing the works at the 291 Gallery or the Armory Show), by the European Surrealists, and past Pablo Picasso, Joan Miró and Henri Matisse as well every bit the Americans Milton Avery, John D. Graham, and Hans Hofmann. Almost of them abased formal composition and representation of real objects. Often the abstruse expressionists decided to try instinctual, intuitive, spontaneous arrangements of infinite, line, shape and color. Abstruse Expressionism tin can exist characterized by ii major elements: the large size of the canvases used (partially inspired past Mexican frescoes and the works they made for the WPA in the 1930s), and the strong and unusual utilise of brushstrokes and experimental paint application with a new understanding of process.

Color Field painting [edit]

The emphasis and intensification of color and large open expanses of surface were ii of the principles practical to the movement called Color Field painting. Ad Reinhardt, Adolph Gottlieb, Mark Rothko, Clyfford Yet and Barnett Newman were categorized every bit such. Another motion was chosen Activity Painting, characterized by spontaneous reaction, powerful brushstrokes, dripped and splashed pigment and the strong concrete movements used in the product of a painting. Jackson Pollock is an instance of an Action Painter: his artistic process, incorporating thrown and dripped paint from a stick or poured directly from the can, revolutionized painting methods.[nineteen]

Willem de Kooning famously said about Pollock "he broke the water ice for the rest of united states."[twenty] Ironically Pollock's large repetitious expanses of linear fields are characteristic of Color Field painting as well, as art critic Michael Fried wrote in his essay for the itemize of Three American painters: Kenneth Noland, Jules Olitski, Frank Stella at the Fogg Art Museum in 1965. Despite the disagreements betwixt art critics, Abstruse Expressionism marks a turning-point in the history of American fine art: the 1940s and 1950s saw international attention shift from European (Parisian) art, to American (New York) art.[21]

Colour field painting continued equally a movement in the 1960s, as Morris Louis, Jules Olitski, Kenneth Noland, Gene Davis, Helen Frankenthaler, and others sought to make paintings which would eliminate superfluous rhetoric with repetition, stripes and big, flat areas of colour.[22]

Subsequently abstract expressionism [edit]

During the 1950s abstruse painting in America evolved into movements such every bit Neo-Dada, Post painterly abstraction, Op Art, hard-edge painting, Minimal art, Shaped sheet painting, Lyrical Abstraction, and the continuation of Abstract expressionism. Equally a response to the tendency toward abstraction imagery emerged through various new movements like Pop Art, the Bay Expanse Figurative Motion and later in the 1970s Neo-expressionism.

Lyrical Abstraction forth with the Fluxus movement and Postminimalism (a term first coined by Robert Pincus-Witten in the pages of Artforum in 1969)[24] sought to expand the boundaries of abstract painting and Minimalism by focusing on process, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, plant objects, installation, serial repetition, and frequently with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse.[24]

Lyrical Brainchild, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard-edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Fine art in the mid-1960s through the 1970s.[25]

Lyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism, specially in the freewheeling usage of paint texture and surface. Direct drawing, calligraphic employ of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstruse Expressionism and Color Field Painting. Withal the styles are markedly different.[26] [27]

During the 1960s, 1970s and 1980s painters as powerful and influential as Adolph Gottlieb, Phillip Guston, Lee Krasner, Cy Twombly, Robert Rauschenberg, Jasper Johns, Richard Diebenkorn, Josef Albers, Elmer Bischoff, Agnes Martin, Al Held, Sam Francis, Kenneth Noland, Jules Olitski, Ellsworth Kelly, Morris Louis, Gene Davis, Frank Stella, Joan Mitchell, Friedel Dzubas, Paul Jenkins and younger artists similar Brice Marden, Robert Mangold, Sam Gilliam, Sean Scully, Elizabeth Murray, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Susan Rothenberg, Ross Bleckner, Richard Tuttle, Julian Schnabel, Peter Halley, Jean-Michel Basquiat, Eric Fischl and dozens of others produced vital and influential paintings.

Other modern American movements [edit]

Members of the side by side artistic generation favored a dissimilar form of abstraction: works of mixed media. Amongst them were Robert Rauschenberg (1925–2008) and Jasper Johns (1930- ), who used photos, newsprint, and discarded objects in their compositions. Pop artists, such every bit Andy Warhol (1928–1987), Larry Rivers (1923–2002), and Roy Lichtenstein (1923–1997), reproduced, with satiric care, everyday objects and images of American popular culture—Coca-Cola bottles, soup cans, comic strips.

Realism has also been continually popular in the Us, despite modernism's bear upon; the realist tendency is evident in the city scenes of Edward Hopper, the rural imagery of Andrew Wyeth, and the illustrations of Norman Rockwell. In certain places Abstract Expressionism never caught on; for case, in Chicago, the dominant fine art style was grotesque, symbolic realism, every bit exemplified by the Chicago Imagists Cosmo Campoli (1923–1997), Jim Nutt (1938- ), Ed Paschke (1939–2004), and Nancy Spero (1926–2009).

Contemporary fine art into the 21st century [edit]

At the beginning of the 21st century, contemporary art in the United states in full general continues in several contiguous modes, characterized past the thought of Cultural pluralism. The "crunch" in painting and current art and electric current fine art criticism today is brought about by pluralism. In that location is no consensus, nor need there be, as to a representative mode of the age. At that place is an anything goes attitude that prevails; an "everything going on" syndrome; with no firm and clear direction and still with every lane on the artistic thruway filled to capacity. Consequently, magnificent and important works of fine art continue to exist made in the United States admitting in a wide diversity of styles and aesthetic temperaments, the market place being left to judge merit.

Hard-edge painting, Geometric abstraction, Cribbing, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Pop art, Op art, Abstract Expressionism, Color Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Assemblage painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped canvas painting, environmental mural painting, Graffiti, traditional figure painting, Landscape painting, Portrait painting, are a few standing and current directions in painting at the beginning of the 21st century.

Notable figures [edit]

A few American artists of note include: Ansel Adams, John James Audubon, Milton Avery, Jean-Michel Basquiat, Thomas Hart Benton, Albert Bierstadt, Alexander Calder, Mary Cassatt, Frederic Edwin Church, Chuck Close, Thomas Cole, Robert Nibble, Edward Southward. Curtis, Richard Diebenkorn, Thomas Eakins, Jules Feiffer, Lyonel Feininger, Helen Frankenthaler, Arshile Gorky, Keith Haring, Marsden Hartley, Al Hirschfeld, Hans Hofmann, Winslow Homer, Edward Hopper, Jasper Johns, Georgia O'Keeffe, Jack Kirby, Franz Kline, Willem de Kooning, Lee Krasner, Dorothea Lange, Roy Lichtenstein, Morris Louis, John Marin, Agnes Martin, Joan Mitchell, Grandma Moses, Robert Motherwell, Nampeyo, Kenneth Noland, Jackson Pollock, Man Ray, Robert Rauschenberg, Frederic Remington, Norman Rockwell, Mark Rothko, Albert Pinkham Ryder, John Vocaliser Sargent, Cindy Sherman, David Smith, Frank Stella, Clyfford Still, Gilbert Stuart, Louis Comfort Tiffany, Cy Twombly, Andy Warhol, Grant Wood, Frank Lloyd Wright, and Andrew Wyeth.

Meet also [edit]

  • Aesthetics
  • Architecture of United States
  • Art education in the United States
  • Movie theatre of the United States
  • History of painting
  • Ledger art
  • Modern art museums in the United states of america
  • Museums of American art
  • National Museum of the American Indian
  • Native American museums in New York
  • Photography in the United States of America
  • Sculpture of the United States
  • Synchromism
  • Timeline of Native American art history
  • Visual arts of Chicago
  • Western painting
  • Australian art
  • Minimal art

References [edit]

  1. ^ a b Gilbert Stuart Birthplace and Museum. Gilbert Stuart Biography. Accessed July 24, 2007.
  2. ^ National Gallery of Art Archived 2009-05-12 at the Wayback Machine
  3. ^ Flexner, James Thomas. John Singleton Copley. Fordham University Press. 1948. p. 20. ISBN 0823215237
  4. ^ Booker Wright, Louis, The Arts in America: the colonial period. Schocken. 1975. p. 172.
  5. ^ Smithsonian National Postal Museum
  6. ^ "National Gallery of Art". Archived from the original on 2012-07-01. Retrieved 2012-06-xxx .
  7. ^ Barratt, Carrie Rebora. "Students of Benjamin West (1738–1820)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–October 2004. Retrieved July 13, 2012.
  8. ^ Robert Thou. Stewart, James Earl: Painter of Loyalists and his career in England
  9. ^ "The Joseph Downs Collection". Winterthur Library. Retrieved 2008-03-24 .
  10. ^ "James A. Michener Art Museum: Bucks County Artists". Michenermuseum.org . Retrieved 2012-04-09 .
  11. ^ TFAOI.com. Philadelphia Museum of Art. Retrieved July 13, 2012
  12. ^ National Museum of American Fine art (U.South.), & Kloss, W. Treasures from the National Museum of American Art. Washington: National Museum of American Art. 1985. pp. 189–190. ISBN 0874745950
  13. ^ History of the New Deal Art Projects
  14. ^ Eric Arnesen, ed. Encyclopedia of U.Southward. labor and working-class history (2007) vol. 1 p. 1540
  15. ^ MoMA, The Collection, Social Realism
  16. ^ Chernow, Bert. Milton Avery: a singular vision: [exhibition], Centre for the Fine Arts, Miami. Miami, Florida: Trustees of the Center for the Fine Arts Association. 1987. p. 8. OCLC 19128732
  17. ^ Simon Knell, National Galleries, Routledge, 2016, p. 55, ISBN 1317432428
  18. ^ Cosic, Miriam (August eighteen, 2012). "Jackson Pollock'southward landmark work remains in pole position". The Australian . Retrieved Nov ane, 2012.
  19. ^ The Encyclopedia Americana, Volume one, Grolier Incorporated, Jan one, 1999, p. 56, ISBN 0717201317
  20. ^ Carolyn Lanchner, Jasper Johns, The Museum of Modern Art, New York, N.Y., 2009, p. twenty, ISBN 087070768X
  21. ^ Paul Cummings, American Drawings: the 20th Century, Viking Press, University of Michigan, 1976, ISBN 0670117846
  22. ^ William S. Rubin, Frank Stella, The Museum of Modern Art, Distributed past New York Graphic Order, Greenwich, CT, 1970
  23. ^ Baal-Teshuva, Jacob. Mark Rothko, 1903–1970: Pictures as Drama. New York: Taschen, 2003
  24. ^ a b Movers and Shakers, New York, "Leaving C&Yard", past Sarah Douglas, Art+Auction, March 2007, V.XXXNo7.
  25. ^ Martin, Ann Ray, and Howard Junker. The New Art: Information technology's Style, Way Out, Newsweek July 29, 1968: pp.3,55-63.
  26. ^ Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–December 1969, pp.104–113.
  27. ^ Thomas B. Hess on Larry Aldrich, Retrieved June x, 2010

Sources [edit]

  • American paradise: the world of the Hudson River schoolhouse . New York: The Metropolitan Museum of Fine art. 1987. ISBN9780870994968.
  • Avery, Kevin J. Belatedly Eighteenth-Century American Drawings. The Metropolitan Museum Of Art. 2000-2011 The Metropolitan Museum Of Art
  • Bernet, Claus; Nothnagle, Alan L.: Christliche Kunst aus den United states of america, Norderstedt 2015, ISBN 978-iii-7386-1339-1.
  • Mayer, Lance and Myers, Gay. American Painters on Technique: The Colonial Menses to 1860. Los Angeles: Getty Publications, 2011. ISBN 978-1-60606-077-three
  • Mayer, Lance and Myers, Gay. American Painters on Technique: 1860-1945. Los Angeles: Getty Publications, 2013. ISBN 978-i-60606-135-0
  • Pohl, Frances K. Framing America. A Social History of American Art. New York: Thames & Hudson, 2002 (pages 74–84, 118–122, 366–365, 385, 343–344, 350–351)
  • The United States of America. New York: The Metropolitan Museum of Art. 1987. ISBN0870994166.

External links [edit]

  • American Paintings in The Metropolitan Museum of Art, a fully digitized 3 volume exhibition catalog
  • Inquiring Eye: American Painting, instruction resource on history of American painting

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Source: https://en.wikipedia.org/wiki/Visual_art_of_the_United_States

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