Framing America

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  • Format: Hardcover
  • Copyright: 2002-10-01
  • Publisher: Thames & Hudson

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For more than a generation, critics and scholars have been revising and expanding the customary definition of American art. A tradition once assumed to be mainly European and oriented toward painting and sculpture has been enriched by the inclusion of other media such as ceramics, needlework, and illustration, and the work of previously marginalized groups such as Native Americans, African Americans, Latinos, and Asian Americans. Now, in a brilliant combination of original scholarship and synthesis, Frances Pohl's Framing America provides the first comprehensive survey of this new, enlarged vision of American art.

Here are the many strands of North America's history and visual culture: the first contacts of the Spanish with the Aztecs and other Native Americans; the post-Revolutionary definition of nationhood; the visionary feeling for landscape and nature; the images of social and military conflict of the nineteenth century; and the tempering of the twentieth century's heady plunge into modernism by the Depression, World War II, the Cold War, and the culture

Author Biography

Frances K. Pohl is Professor of Art History at Pomona College, California.

Table of Contents

Prefacep. 9
Art and Conquestp. 13
The Spanish and the Aztecsp. 16
The Northern Territories of New Spainp. 22
France Bringing the Faith: the Northeastp. 41
The Exploration of the Mississippi and Mississippian Culturep. 49
A Protestant Presence in Americap. 54
The Art and Architecture of the Northern British and Dutch Coloniesp. 58
Products of the Needle and the Chiselp. 66
Foreign Wars and Domestic Unrestp. 69
Defining Americap. 73
Representing the Revolution and Its Aftermathp. 74
Presidential Poses: Images of George Washingtonp. 83
Architectural Symbols of a New Nationp. 93
An Architecture of Disciplinep. 98
Nationhood and Native Americansp. 104
The Schooling of the Nation's Artists: Samuel F. B. Morse and the National Academy of Designp. 112
The Entrepreneurial Spirit and the Production of American Culturep. 118
Nature and Nationp. 129
Nature and the Sacred in Native American Artp. 131
God, Nature, and the Rise of Landscape Paintingp. 134
Thomas Cole, Federalism, and The Course of Empirep. 139
Edward Hicks and The Peaceable Kingdomp. 144
Landscape Painting at Mid-Century: Frederic Edwin Church and the Luministsp. 146
Native Americans as Naturep. 152
Depicting the "Looks and Modes" of Native American Lifep. 155
Nature Transformed: Settling the Landscapep. 163
Woman as Nature: The Nude, the Mother, and the Cookp. 171
Nature Morte: Still Life and the Art of Deceptionp. 175
A Nation at Warp. 185
The War between the United States and Mexicop. 186
Mexican Culture as American Culturep. 191
Prelude to the Civil War: Representing African Americans and Slaveryp. 197
Race and the Civil Warp. 204
Images of Reconstructionp. 211
Monuments to Freedomp. 217
Native Americans in the Popular Press: Harper's Weekly and the Washita River Massacrep. 224
Encyclopedias of Experience: Native American Ledger Artp. 226
The End of the Ghost Dancep. 232
The Hampton Institute and Lessons in American Historyp. 236
Work and Art Redefinedp. 239
One Hundred Years of Independence: Taking Stock of America at the 1876 Philadelphia Centennial Exhibitionp. 242
Images of Workersp. 245
Celebrating the New Male Professionals: Portraits by Thomas Eakinsp. 252
The Female Body and the Rights of Women: the "Declaration of Sentiments" and Hiram Powers's The Greek Slavep. 258
Domestic Culture and Cultural Productionp. 260
The Feminine Ideal and the Rise of Aestheticismp. 269
Images of the Particular: Portraiture and "Trompe l'Oeil" Paintingp. 275
The Battle over Public Spacep. 282
The End of a Century: Art and Architecture and the World's Columbian Expositionp. 288
The Machine, the Primitive, and the Modernp. 301
Realism and the Ashcan Schoolp. 304
Modernism and the Avant-Gardep. 317
World War I and the Art of Reproductionp. 322
Modernism, Gender, and Sexualityp. 327
Escape to Mexicop. 337
Mexico in America: Imaging the American Southwestp. 343
The Harlem Renaissancep. 350
Art for the People, Art Against Fascismp. 363
A New Deal for Artp. 365
Modernist Architecture, Domestic Design, and Planned Communitiesp. 378
Alternative Visions: Urban Life and the Industrial Workerp. 381
Alternative Visions: The Corporate View of Industrial Americap. 391
Alternative Visions: Women at Work in the Cityp. 399
Alternative Visions: Rural Americap. 404
Art Against Fascism: The Popular Front and the American Artists' Congressp. 413
The War at Home: Japanese American Internment and American Patriotismp. 416
Social Surrealism, Abstraction, and Democracyp. 419
From Cold War to Culture Warsp. 429
Gestures of Liberation: Abstract Art as the New American Artp. 432
Pastiche and Parody: Another Take on the Realp. 445
Minimal Formsp. 456
Popular Art, Pop Art, and Consumer Culturep. 464
An Art of Protest: The Civil Rights Movement and the Vietnam Warp. 473
The Personal is Political: Feminist Art of the 1970sp. 483
Public Art and Public Interestp. 491
Is Less More? Re-evaluating Modernism in Architecturep. 496
Postmodernism and Artp. 502
The Culture Warsp. 512
Timelinep. 521
Bibliographyp. 526
Websitesp. 541
Acknowledgments for Illustrationsp. 542
Indexp. 546
Table of Contents provided by Blackwell. All Rights Reserved.

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