"A significant other to American Art" provides 35 newly-commissioned essays by way of best students that discover the technique, historiography, and present kingdom of the sector of yankee artwork historical past. positive aspects contributions from a stability of verified and rising students, artwork and architectural historians, and different experts contains a number of paired essays to stress discussion and debate among students on very important modern matters in American paintings heritage Examines themes comparable to the methodological stakes within the writing of yank artwork background, altering principles approximately what constitutes "Americanness," and the connection of artwork to public tradition bargains a desirable portrait of the evolution and present country of the sphere of yankee paintings historical past and indicates destiny instructions of scholarship.
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Additional resources for A Companion to American Art
Wendy Bellion and Mónica Domínguez Torres explore the possibilities and challenges of team-teaching American art history in an expanded geographical scope. What educational opportunities emerge when scholars combine their energy, knowledge, and resources in the classroom? Drawing on their experiences c o-teaching a University of Delaware graduate seminar, “Colonial Art Across North America,” the authors share practical strategies for organizing and managing a course that combines the study of art from colonial settlements ranging from New France and British America to New Spain and the Caribbean.
H. Richardson; Louis Sullivan and Frank Lloyd Wright’s pursuit of a “democratic American architecture”; and the Colonial Revival’s grounding of architectural Americanness in a specifically western European heritage. Upton’s goal is neither to celebrate Americanness in architecture nor to debunk American exceptionalism, but to explore the obvious and less obvious ways that the idea of Americanness has shaped understanding of the built environment in the United States, as well as the difficulty of escaping these consequences.
Much modernist art history, by contrast, draws extensively not only on the vocabulary of translated French and German theory but also on its academic-poetic style. Rhythm counts highly, and the pleasures of the text sometimes trump its straightforwardness. To summarize this distinction, we might observe that Americanists and modernists agree on something important: the central topic of art-historical inquiry is how things are represented. ), opening only through such questions onto political matters.