The Arts in the Us Compared to Other Countries

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

Visual art of the United States or American art is visual fine art made in the U.s. or by U.S. artists. Before colonization there 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 colonial art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the primeval instance. In the belatedly 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English language styles and like craftsmen were also established in the major cities, but in the English colonies, locally fabricated pottery remained resolutely utilitarian until the 19th century, with fancy products imported.

Just in the later on 18th century two U.S. artists, Benjamin Due west and John Singleton Copley, became the virtually successful painters in London of history painting, then regarded every bit the highest form of art, giving the first sign of an emerging strength in Western art. American artists who remained at abode became increasingly skilled, although in that location was little awareness of them in Europe. In the early 19th century the infrastructure to train artists began to be established, and from 1820 the Hudson River Schoolhouse began to produce Romantic mural 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 frontier country. A parallel development taking shape in rural U.S. was the American craft move, which began equally a reaction to the industrial revolution.

Afterward 1850 Academic art in the European style flourished, and as richer Americans became very wealthy, the period of European art, new and erstwhile, to the US began; this has continued ever since. Museums began to be opened to display much of this. Developments in modernistic art in Europe came to the U.S. from exhibitions in New York City such equally the Armory Show in 1913. Later Earth War II, New York replaced Paris every bit the eye of the art earth. Since then many U.S. movements have shaped Modern and Postmodern art. Art in the United States today covers a huge range of styles.

Ancestry [edit]

One of the first painters to visit British America was John White (c. 1540 – c. 1606), who made important watercolor records of Native American life on the Eastern seaboard (at present in the British Museum). White first visited America as the artist and map-maker for an expedition of exploration, and in the early years of the Colonial period most other artists trained in Western styles were officers in the army and navy, whose grooming included sketching landscapes. Eventually the English settlements grew large plenty to back up professional artists, mostly portrait-painters, oft largely self-taught.

Amongst the earliest was John Smybert (1688–1751), a trained artist from London who emigrated in 1728 intending to be a professor of fine art, but 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 on to be American could encounter mostly religious art in the late Baroque manner, mostly by native artists, and Native American cultures connected to produce art in their various traditions.

Eighteenth century [edit]

Later the Declaration of Independence in 1776, which marked the official outset of the American national identity, the new nation needed a history, and part of that history would exist expressed visually. Virtually of early American art (from the tardily 18th century through the early 19th century) consists of history painting and specially portraits. As in Colonial America, many of the painters who specialized in portraits were essentially self-taught; notable among them are Joseph Badger, John Brewster Jr., and William Jennys. The young nation's artists mostly emulated the style of British art, which they knew through prints and the paintings of English-trained immigrants such as John Smibert (1688–1751) and John Wollaston (active 1742–1775).^[2]

Robert Feke (1707–1752), an untrained painter of the colonial period, accomplished a sophisticated style based on Smibert's case.^[three] 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's younger brother James Peale and vi of Peale'southward nieces and sons— Anna Claypoole Peale, Sarah Miriam Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were likewise artists. Painters such equally Gilbert Stuart fabricated portraits of the newly elected government officials,^[ane] which became iconic later on being reproduced on various U.S. Postage stamps of the 19th century and early on 20th century.^[v]

John Singleton Copley painted emblematic portraits for the increasingly prosperous merchant grade, including a portrait of Paul Revere (ca. 1768–1770). The original version of his nigh 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 3rd version in the Detroit Institute of Arts. Benjamin West painted portraits equally well as history paintings of the French and Indian War. West also worked in London where many American artists studied under him, including Washington Allston,^[7] Ralph Earl, James Earl,^[8] 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 most often done to testify how much holding a subject endemic, or equally a picturesque background for a portrait.

Selection of works by early on American artists [edit]

Nineteenth century [edit]

National Gallery of Art, Washington DC.

The first well-known U.Southward. school of painting—the Hudson River School—appeared in 1820. Thomas Cole pioneered the move which included Albert Bierstadt, Frederic Edwin Church, Thomas Doughty and several others. Equally with music and literature, this evolution was delayed until artists perceived that the New World offered subjects unique to itself; in this case the due west expansion of settlement brought the transcendent dazzler of frontier landscapes to painters' attention.

The Hudson River painters' directness and simplicity of vision influenced and inspired such later artists as John Kensett and the Luminists; as well every bit George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock amidst 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 mural painter Robert Due south. Duncanson was i of the outset of import African American painters. John James Audubon, an ornithologist whose paintings documented birds, was one of the about important naturalist artists in the early U.Southward. His major piece of work, a set of colored prints entitled The Birds of America (1827–1839), is considered 1 of the finest ornithological works e'er completed. Edward Hicks was a U.S. folk painter and distinguished government minister of the Society of Friends. He became a Quaker icon because of his paintings.

Paintings of the Peachy West, many of which emphasized the sheer size of the land and the cultures of the native people living on it, became a distinct genre also. George Catlin depicted the West and its people as honestly as possible. George Caleb Bingham, and later on Frederic Remington, Charles One thousand. Russell, the photographer Edward Due south. Curtis, and others recorded the U.S. Western heritage and the Old American West through their art.

History painting was a less pop genre in U.South. fine art during the 19th century, although Washington Crossing the Delaware, painted past the German-built-in Emanuel Leutze, is amid the best-known U.S. paintings. The historical and military paintings of William B. T. Trego were widely published afterwards his death (according to Edwin A. Peeples, "There is probably non an American History book which doesn't take (a) Trego picture in it").^[10]

Portrait painters in the U.S. in the 19th century included untrained limners such every bit Ammi Phillips, and painters schooled in the European tradition, such as Thomas Sully and G.P.A. Healy. Center-class city life establish 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 every bit one of the almost significant U.S. artists.^[xi] One of his students was Henry Ossawa Tanner, the start African-American painter to attain international acclaim.

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

The about successful U.S. sculptor of his era, Hiram Powers, left the U.Due south. in his early thirties to spend the rest of his life in Europe, where he adopted a conventional fashion for his arcadian 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 Singer Sargent, all of whom were influenced by French Impressionism. Theodore Robinson visited France in 1887, befriended Monet, and became i of the first U.S. painters to adopt the new technique. In the concluding decades of the century American Impressionism, every bit practiced by artists such every bit Childe Hassam and Frank W. Benson, became a popular style.

Choice of notable 19th-century works [edit]

Twentieth century [edit]

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

American realism became the new direction 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 conscious imagery in their works. The photographer Alfred Stieglitz (1864–1946) led the Photo-Secession move, which created pathways for photography equally an emerging art form.

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

After Earth War I many American artists rejected the modern trends emanating from the Arsenal Show and European influences such every bit those from the Schoolhouse of Paris. Instead they chose to adopt diverse—in some cases bookish—styles of realism in depicting American urban and rural scenes. Grant Wood, Reginald Marsh, Guy Pène du Bois, and Charles Sheeler exemplify the realist tendency in unlike ways. Sheeler and the modernists Charles Demuth and Ralston Crawford were referred to as Precisionists for their sharply defined renderings of machines and architectural forms. Edward Hopper, who studied under Henri, developed an individual manner of realism past concentrating on calorie-free and course, and fugitive overt social content.

The American Southwest [edit]

Following the first Earth War, the completion of the Santa Fe Railroad enabled American settlers to travel across the due west, as far every bit the California coast. New artists' colonies started growing up around Santa Fe and Taos, the artists' primary subject area affair being the native people and landscapes of the Southwest.

Images of the Southwest became a pop class of advertising, used almost significantly by the Santa Fe Railroad to entice settlers to come west 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 tardily 19th century, became known for her paintings featuring flowers, bones, and landscapes of New United mexican states as seen in Ram'south Head White Hollyhock and Petty Hills. O'Keeffe visited the Southwest in 1929 and moved in that location 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 movement, which showcased the range of talents inside African-American communities, included artists from across America, but was centered in Harlem. The work of the Harlem painter and graphic creative person Aaron Douglas and the photographer James VanDerZee became emblematic of the move. 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 Deal art (1930s) [edit]

When the Cracking Depression worsened, president Roosevelt's New Bargain 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 first of these projects, the Public Works of Fine art Project (PWAP), was created subsequently successful lobbying by the unemployed artists of the Artists Union.^[13] The PWAP lasted less than i year, and produced nearly 15,000 works of art. It was followed by the Federal Art Project of the Works Progress Assistants (FAP/WPA) in 1935, which funded some of the most well-known American artists.^[14]

The style of much of the public fine art commissioned past the WPA was influenced by the piece of work of Diego Rivera and other artists of the gimmicky Mexican muralism movement. Several separate and related movements began and developed during the Swell Low including American scene painting, Regionalism, and Social Realism.^[xv] Thomas Hart Benton, John Steuart Curry, Grant Wood, 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's paintings, ofttimes virtually abstract, had a significant influence on several of the younger artists who would soon become known as Abstract Expressionists.^[xvi] Joseph Cornell, inspired past Surrealism, created boxed assemblages incorporating found objects and collage.

Abstruse expressionism [edit]

Jackson Pollock, Blueish Poles Number 11, 1952, enamel and aluminium paint with glass on canvas, 212.ane x 488.nine cm, National Gallery of Australia. Showtime exhibited in Pollock's studio, Blueish Poles was purchased in 1973 by the Australian government for a controversial $1.three 1000000, becoming the highest price ever paid for a painting in the history of Commonwealth of australia.^[17] ^[eighteen]

In the years after World War II, a group of New York artists formed the kickoff American movement to exert major influence internationally: abstract expressionism. This term, which had first been used in 1919 in Berlin, was used again in 1946 by Robert Coates in The New York Times, and was taken upwards by the 2 major art critics of that time, Harold Rosenberg and Clement Greenberg. It has always been criticized every bit likewise large and paradoxical, yet the common definition implies the employ of abstract art to express feelings, emotions, what is within the artist, and not what stands without.

The kickoff generation of abstract expressionists included Jackson Pollock, Willem de Kooning, Mark 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 also related, important and influential artists during that period.

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

Many offset generation abstract expressionists were influenced both past the Cubists' works (which they knew from photographs in fine art reviews and by seeing the works at the 291 Gallery or the Armory Bear witness), by the European Surrealists, and by Pablo Picasso, Joan Miró and Henri Matisse as well as the Americans Milton Avery, John D. Graham, and Hans Hofmann. Most of them abandoned formal composition and representation of real objects. Often the abstruse expressionists decided to effort instinctual, intuitive, spontaneous arrangements of infinite, line, shape and color. Abstract Expressionism tin be characterized past two major elements: the big size of the canvases used (partially inspired by Mexican frescoes and the works they fabricated for the WPA in the 1930s), and the stiff and unusual use of brushstrokes and experimental paint application with a new understanding of process.

Color Field painting [edit]

The emphasis and intensification of color and big open up expanses of surface were two of the principles applied to the movement chosen Color Field painting. Advertizing Reinhardt, Adolph Gottlieb, Marker Rothko, Clyfford Yet and Barnett Newman were categorized as such. Another movement was called Action Painting, characterized past spontaneous reaction, powerful brushstrokes, dripped and splashed paint and the strong physical movements used in the production of a painting. Jackson Pollock is an instance of an Action Painter: his creative process, incorporating thrown and dripped paint from a stick or poured directly from the can, revolutionized painting methods.^[19]

Willem de Kooning famously said about Pollock "he broke the water ice for the rest of usa."^[xx] 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 between art critics, Abstract Expressionism marks a turning-point in the history of American art: the 1940s and 1950s saw international attention shift from European (Parisian) art, to American (New York) art.^[21]

Colour field painting continued every bit a move in the 1960s, equally 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 large, apartment areas of color.^[22]

After abstruse expressionism [edit]

During the 1950s abstract painting in America evolved into movements such as Neo-Dada, Postal service painterly brainchild, Op Art, hard-edge painting, Minimal fine art, Shaped sheet painting, Lyrical Abstraction, and the continuation of Abstract expressionism. Equally a response to the trend toward abstraction imagery emerged through various new movements like Pop Fine art, the Bay Surface area Figurative Movement and later in the 1970s Neo-expressionism.

Lyrical Abstraction along 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 procedure, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, plant objects, installation, serial repetition, and oft with references to Dada and Surrealism is all-time exemplified in the sculptures of Eva Hesse.^[24]

Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Fine art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Colour 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 Brainchild shares similarities with Color Field Painting and Abstruse Expressionism, especially in the freewheeling usage of paint texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstract Expressionism and Color Field Painting. However the styles are markedly different.^[26] ^[27]

During the 1960s, 1970s and 1980s painters equally 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 like 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 modernistic American movements [edit]

Members of the next creative generation favored a different course of abstraction: works of mixed media. Among them were Robert Rauschenberg (1925–2008) and Jasper Johns (1930- ), who used photos, newsprint, and discarded objects in their compositions. Popular artists, such as Andy Warhol (1928–1987), Larry Rivers (1923–2002), and Roy Lichtenstein (1923–1997), reproduced, with satiric intendance, everyday objects and images of American pop civilization—Coca-Cola bottles, soup cans, comic strips.

Realism has also been continually popular in the U.s.a., despite modernism's impact; 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 example, in Chicago, the ascendant fine art way 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 art into the 21st century [edit]

At the beginning of the 21st century, contemporary art in the Us in general continues in several contiguous modes, characterized past the idea of Cultural pluralism. The "crisis" in painting and current fine art and current fine art criticism today is brought well-nigh by pluralism. In that location is no consensus, nor need at that place exist, as to a representative style of the age. In that location is an anything goes mental attitude that prevails; an "everything going on" syndrome; with no business firm and clear direction and yet with every lane on the artistic superhighway filled to capacity. Consequently, magnificent and important works of art keep to be made in the United States admitting in a wide diversity of styles and aesthetic temperaments, the marketplace being left to estimate merit.

Hard-edge painting, Geometric abstraction, Appropriation, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Brainchild, Pop art, Op art, Abstruse Expressionism, Colour Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Aggregation painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped canvass 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 building, Chuck Close, Thomas Cole, Robert Crumb, Edward South. 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, Marking Rothko, Albert Pinkham Ryder, John Vocalist Sargent, Cindy Sherman, David Smith, Frank Stella, Clyfford Even so, Gilbert Stuart, Louis Comfort Tiffany, Cy Twombly, Andy Warhol, Grant Wood, Frank Lloyd Wright, and Andrew Wyeth.

References [edit]

^ ^a ^b Gilbert Stuart Birthplace and Museum. Gilbert Stuart Biography. Accessed July 24, 2007.
^ National Gallery of Art Archived 2009-05-12 at the Wayback Machine
^ Flexner, James Thomas. John Singleton Copley. Fordham University Press. 1948. p. 20. ISBN 0823215237
^ Booker Wright, Louis, The Arts in America: the colonial period. Schocken. 1975. p. 172.
^ Smithsonian National Postal Museum
^ "National Gallery of Art". Archived from the original on 2012-07-01. Retrieved 2012-06-thirty .
^ Barratt, Carrie Rebora. "Students of Benjamin Due west (1738–1820)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–Oct 2004. Retrieved July 13, 2012.
^ Robert G. Stewart, James Earl: Painter of Loyalists and his career in England
^ "The Joseph Downs Drove". Winterthur Library. Retrieved 2008-03-24 .
^ "James A. Michener Art Museum: Bucks County Artists". Michenermuseum.org . Retrieved 2012-04-09 .
^ TFAOI.com. Philadelphia Museum of Fine art. Retrieved July 13, 2012
^ National Museum of American Art (U.South.), & Kloss, West. Treasures from the National Museum of American Fine art. Washington: National Museum of American Fine art. 1985. pp. 189–190. ISBN 0874745950
^ History of the New Deal Art Projects
^ Eric Arnesen, ed. Encyclopedia of U.Due south. labor and working-class history (2007) vol. 1 p. 1540
^ MoMA, The Collection, Social Realism
^ Chernow, Bert. Milton Avery: a singular vision: [exhibition], Centre for the Fine Arts, Miami. Miami, Florida: Trustees of the Center for the Fine Arts Clan. 1987. p. 8. OCLC 19128732
^ Simon Knell, National Galleries, Routledge, 2016, p. 55, ISBN 1317432428
^ Cosic, Miriam (August 18, 2012). "Jackson Pollock's landmark work remains in pole position". The Australian . Retrieved Nov 1, 2012.
^ The Encyclopedia Americana, Volume one, Grolier Incorporated, Jan 1, 1999, p. 56, ISBN 0717201317
^ Carolyn Lanchner, Jasper Johns, The Museum of Mod Art, New York, Due north.Y., 2009, p. 20, ISBN 087070768X
^ Paul Cummings, American Drawings: the 20th Century, Viking Printing, Academy of Michigan, 1976, ISBN 0670117846
^ William S. Rubin, Frank Stella, The Museum of Modern Art, Distributed by New York Graphic Club, Greenwich, CT, 1970
^ Baal-Teshuva, Jacob. Marker Rothko, 1903–1970: Pictures as Drama. New York: Taschen, 2003
^ ^a ^b Movers and Shakers, New York, "Leaving C&1000", by Sarah Douglas, Art+Auction, March 2007, V.XXXNo7.
^ Martin, Ann Ray, and Howard Junker. The New Fine art: It'south Way, Way Out, Newsweek July 29, 1968: pp.3,55-63.
^ Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, Nov–Dec 1969, pp.104–113.
^ Thomas B. Hess on Larry Aldrich, Retrieved June 10, 2010

Sources [edit]

American paradise: the globe of the Hudson River school . New York: The Metropolitan Museum of Art. 1987. ISBN9780870994968.
Avery, Kevin J. Tardily Eighteenth-Century American Drawings. The Metropolitan Museum Of Fine art. 2000-2011 The Metropolitan Museum Of Art
Bernet, Claus; Nothnagle, Alan L.: Christliche Kunst aus den United states, Norderstedt 2015, ISBN 978-3-7386-1339-ane.
Mayer, Lance and Myers, Gay. American Painters on Technique: The Colonial Catamenia to 1860. Los Angeles: Getty Publications, 2011. ISBN 978-1-60606-077-3
Mayer, Lance and Myers, Gay. American Painters on Technique: 1860-1945. Los Angeles: Getty Publications, 2013. ISBN 978-1-60606-135-0
Pohl, Frances M. 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. New York: The Metropolitan Museum of Art. 1987. ISBN0870994166.

External links [edit]

American Paintings in The Metropolitan Museum of Art, a fully digitized three book exhibition itemize
Inquiring Eye: American Painting, educational activity resource on history of American painting

bradshawbarten.blogspot.com

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