Struggling to create an identity distinct from the European tradition but lacking an established system of support, early painting in America received little cultural acceptance in its own country or abroad. Yet despite the initial indifference with which it was first met, American art flourished against the odds and founded the aesthetic consciousness that we equate with American art today. In this exhilarating study David Rosand shows how early American painters transformed themselves from provincial followers of the established traditions of Europe into some of the most innovative and influential artists in the world. Moving beyond simple descriptions of what distinguishes American art from other movements and forms, The Invention of Painting in America explores not only the status of artists and their personal relationship to their work but also the larger dialogue between the artist and society. Rosand looks to the intensely studied portraits of America's early painters―especially Copley and Eakins and the landscapes of Homer and Inness, among others―each of whom grappled with conflicting cultural attitudes and different expressive styles in order to reinvent the art of painting. He discusses the work of Davis, Gorky, de Kooning, Pollock, Rothko, and Motherwell and the subjects and themes that engaged them. While our current understanding of America's place in art is largely based on the astonishing success of a handful of mid-twentieth-century painters, Rosand unearths the historical and artistic conditions that both shaped and inspired the phenomenon of Abstract Expressionism.

The Invention of Painting in America (Leonard Hastings Schoff Lectures)

Arts & Photography

Rosand, David

History & Criticism

Columbia University Press

Struggling to create an identity distinct from the European tradition but lacking an established system of support, early painting in America received little cultural acceptance in its own country or abroad. Yet despite the initial indifference with which it was first met, American art flourished against the odds and founded the aesthetic consciousness that we equate with American art today. In this exhilarating study David Rosand shows how early American painters transformed themselves from provincial followers of the established traditions of Europe into some of the most innovative and influential artists in the world. Moving beyond simple descriptions of what distinguishes American art from other movements and forms, The Invention of Painting in America explores not only the status of artists and their personal relationship to their work but also the larger dialogue between the artist and society. Rosand looks to the intensely studied portraits of America's early painters―especially Copley and Eakins and the landscapes of Homer and Inness, among others―each of whom grappled with conflicting cultural attitudes and different expressive styles in order to reinvent the art of painting. He discusses the work of Davis, Gorky, de Kooning, Pollock, Rothko, and Motherwell and the subjects and themes that engaged them. While our current understanding of America's place in art is largely based on the astonishing success of a handful of mid-twentieth-century painters, Rosand unearths the historical and artistic conditions that both shaped and inspired the phenomenon of Abstract Expressionism.

Painting in Cinquecento Venice: Titian, Veronese, Tintoretto

The first modern study in English of sixteenth-century Venetian painting and a modern critical framework for the general study of art.

Yale Univ Pr

Examines the history of pastoral landscape painting from the High Renaissance through the late nineteenth century

Places of Delight

Religion & Spirituality

Clarkson/Potter

Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto

Painting in Sixteenth-Century Venice, here published in a revised and updated edition, explores the visual tradition of one of the most important centres of the Italian Renaissance through a study of three masters - Titian, Veronese, and Tintoretto. These painters dominated and shaped the traditions of Venetian painting in the High and Late Renaissance. Establishing the conditions of painting in Renaissance Venice, including the social, economic and political situation of arts and artists and the aesthetic values that distinguish Venetian painting from that of Central Italy, David Rosand also explores the formal principles and technical procedures that determined the uniqueness of painting in Venice, above all the development of oil painting on canvas. He also analyses individual images, altarpieces and mural paintings within the several contexts of conventions and institutions - artistic, social, historical - of Renaissance Venice.

Cambridge University Press

Drawing Acts: Studies in Graphic Expression and Representation

Drawing Acts is about drawing, both as art and act. Taking the study of drawings beyond the traditional agenda of connoisseurship, David Rosand explores the significance of the making of drawings, the meaning in the line of the draftsman, and the recreative dimension of critical response. The book focuses on drawings by artists such as Leonardo da Vinci, Raphael, Michelangelo, Rembrandt, Piranesi, Tiepolo and Picasso, as well as on the history and theory of the medium itself. It seeks to establish new foundations for the criticism and appreciation of drawing, which is often considered the most revealing record of artistic creativity, offering the most direct expression of the artistic self.

Study & Teaching

Over the course of several centuries, Venice fashioned and refined a portrait of itself that responded to and exploited historical circumstance. Never conquered and taking its enduring independence as a sign of divine favor, free of civil strife and proud of its internal stability, Venice broadcast the image of itself as the Most Serene Republic, an ideal state whose ruling patriciate were selflessly devoted to the commonweal. All this has come to be known as the "myth of Venice." Exploring the imagery developed in Venice to represent the legends of its origins and legitimacy, David Rosand reveals how artists such as Gentile and Giovanni Bellini, Carpaccio, Titian, Jacopo Sansovino, Tintoretto, and Veronese gave enduring visual form to the myths of Venice. He argues that Venice, more than any other political entity of the early modern period, shaped the visual imagination of political thought. This visualization of political ideals, and its reciprocal effect on the civic imagination, is the larger theme of the book.

Myths of Venice: The Figuration of a State

The University of North Carolina Press

Over the course of several centuries, Venice fashioned and refined a portrait of itself that responded to and exploited historical circumstance. Never conquered and taking its enduring independence as a sign of divine favor, free of civil strife and proud of its internal stability, Venice broadcast the image of itself as the Most Serene Republic, an ideal state whose ruling patriciate were selflessly devoted to the commonweal. All this has come to be known as the "myth of Venice" Exploring the imagery developed in Venice to represent the legends of its origins and legitimacy, David Rosand reveals how artists such as Gentile and Giovanni Bellini, Carpaccio, Titian, Jacopo Sansovino, Tintoretto, and Veronese gave enduring visual form to the myths of Venice. He argues that Venice, more than any other political entity of the early modern period, shaped the visual imagination of political thought. This visualization of political ideals, and its reciprocal effect on the civic imagination, is the larger theme of the book. Never conquered and taking its enduring independence as a sign of divine favor, Venice broadcast an image of itself over the course of several centuries as the Most Serene Republic, an ideal state whose ruling patriciate were selflessly devoted to the commonweal. Exploring the imagery developed in Venice to represent the legends of its origins and legitimacy, David Rosand reveals how artists such as Gentile and Giovanni Bellini, Carpaccio, Titian, Jacopo Sansovino, Tintoretto, and Veronese gave enduring visual form to the myths of Venice. He argues that Venice, more than any other political entity of the early modern period, shaped the visual imagination of western political thought.

Myths of Venice: The Figuration of a State (Bettie Allison Rand Lectures in Art History)

Recreates the life and artistic development of the Renaissance painter, supplementing color reproductions of his masterworks with commentaries illuminating his impact on the vision of his contemporaries and the methods of his successors

Titian

Harry N.Abrams, Inc.

See the best price to sell, buy, or rent books by Rosand, David. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Rosand, David

See the best price to sell, buy, or rent books by Rosand, David. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Invention of Painting in America (Leonard Hastings Schoff Lectures)

The Invention of Painting in America (Leonard Hastings Schoff Lectures)

Painting in Cinquecento Venice: Titian, Veronese, Tintoretto

Places of Delight

Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto

Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto

Drawing Acts: Studies in Graphic Expression and Representation

Myths of Venice: The Figuration of a State

Myths of Venice: The Figuration of a State (Bettie Allison Rand Lectures in Art History)

Titian