Nineteenth-Century American Art (Oxford History of Art)

This innovative introduction examines the profession of the nineteenth-century American artist and audience reception of their work. Works of art by familiar names such as Thomas Eakins and Winslow Homer are discussed in detail within the larger arena of visual culture, as are key works by recently discovered artists such as Harriet Hosmer. The thematic approach focuses on portraiture, landscape painting, the American West, and commemorative art, then goes on to examine the ways in which painters responded to major social and economic changes resulting from the rapid transformation from an agriculturally-based former colony to an industrialized imperial power with an evolving democracy.

Arts & Photography

Groseclose, Barbara

History & Criticism

Oxford University Press

Internationalizing the History of American Art: Views

This volume reflects the history of, as well as potentials for, narratives of American art as shaped by international perspectives. As practicing historians of American art who have benefited from the field's growth, we believe the time is ripe to address an aspect in the historiography of American art that has not yet been thoroughly plumbed: the transmission and exchange of ideas about American art and its history in international context. We operate from the premise that there is something to be gained for the history of American art from the international dialogue, that this dialogue is happening, and that it has hardly been accounted for.

Penn State University Press

Shows selections of the nineteenth century Missouri artist's paintings, briefly describes his life and times, and discusses the background and themes of his work

George Caleb Bingham

Shapiro, Michael Edward

Individual Artists

Harry N.Abrams, Inc.

The British Raj (a Sanskrit-based word meaning dominion or empire), which has taken on a wholly Victorian flavor as a result of popular films and books, actually began in piecemeal fashion when the East India Company developed settlements in Madras, Calcutta, and Bombay during the seventeenth century. As these small enclaves grew into cities, the British tried hard to give them the look and feel of the country they had left behind. Barbara Groseclose examines British public statuary and church monuments in India from the standpoint of its function in regard to the British themselves. Arguing that doubts and anxieties, as well as assumptions about their own place in Indian life, bear strongly on the roles and achievements for which the British sought or received commemoration, she analyzes the British self-characterizations of victor, administrator, scholar, and benefactor in sculptural imagery. Her close scrutiny of these largely forgotten works of art reveals the crucial part they played in helping the British to explain and justify empire to themselves. But the author's sense of the inherently ambivalent nature of the colonizer/colonized relationship prevents this book from becoming simply a platform for the indictment of imperialists or for an insistence on the wholesale victimization of their subjects. Rather, Groseclose discerns in this art some of the complicated emotional undertones simultaneously shaping and destabilizing the attempted economic and intellectual domination of India.

British Sculpture and the Company Raj: Church Monuments and Public Statuary in Madras, Calcutta, and Bombay to 1858

Sculpture

UNKNO

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Books by Groseclose, Barbara