Which of the Following Was Not a Characteristic of the Art of the Early 20th Century ?

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

Visual fine art of the United states of america or American art is visual fine art made in the United States or by U.Due south. artists. Before colonization at that place 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 Eastward Coast initially relied on artists from Europe, with John White (1540-c. 1593) the primeval example. In the tardily 18th and early on 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English language painting. Furniture-makers imitating English styles and like craftsmen were also established in the major cities, simply in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.

But in the later 18th century two U.S. artists, Benjamin West and John Singleton Copley, became the nearly successful painters in London of history painting, then regarded as the highest form of art, giving the outset sign of an emerging force in Western art. American artists who remained at home became increasingly skilled, although there was petty 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 School began to produce Romantic landscape 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 movement, which began every bit a reaction to the industrial revolution.

After 1850 Academic fine art in the European manner flourished, and every bit richer Americans became very wealthy, the flow of European fine art, new and old, to the U.s.a. began; this has continued ever since. Museums began to be opened to brandish much of this. Developments in modern art in Europe came to the U.S. from exhibitions in New York Metropolis such every bit the Arsenal Show in 1913. After World War II, New York replaced Paris as the center of the art world. Since then many U.S. movements have shaped Modernistic and Postmodern art. Fine art in the United States today covers a huge range of styles.

Beginnings [edit]

1 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 (now in the British Museum). White first visited America as the artist and map-maker for an trek of exploration, and in the early on years of the Colonial period most other artists trained in Western styles were officers in the army and navy, whose training included sketching landscapes. Eventually the English settlements grew large enough to support professional artists, mostly portrait-painters, ofttimes largely self-taught.

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

Eighteenth century [edit]

After the Declaration of Independence in 1776, which marked the official showtime of the American national identity, the new nation needed a history, and part of that history would exist expressed visually. Nigh of early American fine art (from the late 18th century through the early 19th century) consists of history painting and especially portraits. Every bit in Colonial America, many of the painters who specialized in portraits were substantially cocky-taught; notable amongst them are Joseph Badger, John Brewster Jr., and William Jennys. The young nation'south artists generally emulated the style of British art, which they knew through prints and the paintings of English-trained immigrants such equally John Smibert (1688–1751) and John Wollaston (active 1742–1775).^[2]

Robert Feke (1707–1752), an untrained painter of the colonial catamenia, accomplished a sophisticated style based on Smibert'due south case.^[3] Charles Willson Peale, who gained much of his earliest 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 six of Peale's nieces and sons— Anna Claypoole Peale, Sarah Miriam Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were too artists. Painters such as Gilbert Stuart made portraits of the newly elected government officials,^[1] which became iconic after being reproduced on diverse U.South. Postage stamp stamps of the 19th century and early 20th century.^[5]

John Singleton Copley painted allegorical portraits for the increasingly prosperous merchant course, including a portrait of Paul Revere (ca. 1768–1770). The original version of his most famous painting, Watson and the Shark (1778), is in the drove of The National Gallery of Art^[6] while in that location is another version in the Boston Museum of Fine Arts and a third version in the Detroit Establish of Arts. Benjamin W painted portraits as 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,^[seven] Ralph Earl, James Earl,^[8] Samuel Morse, Charles Willson Peale, Rembrandt Peale, Gilbert Stuart, John Trumbull, Mather Brownish, Edward Savage and Thomas Sully.^[ix] John Trumbull painted large battle scenes of the Revolutionary War. When landscape was painted it was most oft washed to show how much property a subject owned, or every bit a picturesque background for a portrait.

Pick of works by early American artists [edit]

Nineteenth century [edit]

National Gallery of Fine art, Washington DC.

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

The Hudson River painters' directness and simplicity of vision influenced and inspired such afterward artists as John Kensett and the Luminists; besides as George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock amid others), and Winslow Homer (1836–1910), who depicted the rural U.Southward.—the bounding main, the mountains, and the people who lived near them.

The Hudson River School landscape painter Robert S. Duncanson was 1 of the kickoff of import African American painters. John James Audubon, an ornithologist whose paintings documented birds, was i of the about important naturalist artists in the early U.S. His major work, a gear up of colored prints entitled The Birds of America (1827–1839), is considered one of the finest ornithological works ever completed. Edward Hicks was a U.S. folk painter and distinguished minister of the Social club of Friends. He became a Quaker icon because of his paintings.

Paintings of the Great Due west, many of which emphasized the sheer size of the land and the cultures of the native people living on it, became a singled-out genre too. George Catlin depicted the West and its people as honestly as possible. George Caleb Bingham, and after Frederic Remington, Charles Grand. Russell, the photographer Edward S. Curtis, and others recorded the U.Due south. Western heritage and the Old American West through their art.

History painting was a less popular genre in U.S. fine art during the 19th century, although Washington Crossing the Delaware, painted by the German language-born Emanuel Leutze, is among the best-known U.South. paintings. The historical and armed services paintings of William B. T. Trego were widely published afterward his death (according to Edwin A. Peeples, "At that place is probably not an American History book which doesn't have (a) Trego picture in information technology").^[ten]

Portrait painters in the U.S. in the 19th century included untrained limners such as Ammi Phillips, and painters schooled in the European tradition, such equally Thomas Sully and G.P.A. Healy. Middle-class metropolis life found its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. Every bit a result, he was not notably successful in his lifetime, although he has since been recognized as i of the nigh significant U.S. artists.^[11] 1 of his students was Henry Ossawa Tanner, the first African-American painter to achieve international acclaim.

A trompe-fifty'œil style of still-life painting, originating mainly in Philadelphia, included Raphaelle Peale (i of several artists of the Peale family), William Michael Harnett, and John F. Peto.

The most successful U.Due south. sculptor of his era, Hiram Powers, left the U.South. in his early thirties to spend the rest of his life in Europe, where he adopted a conventional style for his idealized female nudes such equally 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 Vocaliser Sargent, all of whom were influenced past French Impressionism. Theodore Robinson visited French republic in 1887, befriended Monet, and became one of the first U.S. painters to adopt the new technique. In the last decades of the century American Impressionism, as proficient by artists such every bit Childe Hassam and Frank W. Benson, became a popular style.

Selection of notable 19th-century works [edit]

Twentieth century [edit]

Controversy soon became a mode of life for American artists. In fact, much of American painting and sculpture since 1900 has been a series 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, after the group's 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 adult socially conscious imagery in their works. The photographer Alfred Stieglitz (1864–1946) led the Photo-Secession movement, which created pathways for photography as an emerging fine art class.

Soon the Ashcan school artists gave style to modernists arriving from Europe—the cubists and abstract painters promoted by Stieglitz at his 291 Gallery in New York City. 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 Murphy were some of import early American modernist painters. Early modernist sculptors in America include William Zorach, Elie Nadelman, and Paul Manship. Florine Stettheimer developed an extremely personal faux-naif style.

Later on World State of war I many American artists rejected the mod trends emanating from the Armory Bear witness and European influences such as those from the School of Paris. Instead they chose to adopt various—in some cases academic—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 different means. 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 nether Henri, developed an individual style of realism by concentrating on light and form, and avoiding overt social content.

The American Southwest [edit]

Post-obit the outset World War, the completion of the Santa Fe Railroad enabled American settlers to travel across the west, as far every bit the California coast. New artists' colonies started growing up around Santa Fe and Taos, the artists' chief field of study matter being the native people and landscapes of the Southwest.

Images of the Southwest became a popular form of advertizement, used most significantly by the Santa Fe Railroad to entice settlers to come up west and savour the "unsullied landscapes." Walter Ufer, Bert Geer Phillips, E. 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 built-in in the late 19th century, became known for her paintings featuring flowers, bones, and landscapes of New Mexico as seen in Ram's Caput White Hollyhock and Trivial Hills. O'Keeffe visited the Southwest in 1929 and moved in that location permanently in 1949; she lived and painted at that place until she died in 1986.

Harlem Renaissance (1920s-1930s) [edit]

The Harlem Renaissance was another significant development in American fine 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 art and industrial exhibitions to combat racist stereotypes. The motility, which showcased the range of talents within African-American communities, included artists from across America, but was centered in Harlem. The piece of work of the Harlem painter and graphic artist Aaron Douglas and the photographer James VanDerZee became emblematic of the movement. Artists associated with the Harlem Renaissance include Romare Bearden, Jacob Lawrence, Charles Alston, Augusta Savage, Archibald Motley, Lois Mailou Jones, Palmer Hayden and Sargent Johnson.

New Deal fine art (1930s) [edit]

When the Nifty Depression worsened, president Roosevelt's New Deal created several public arts programs. The purpose of the programs was to give piece of work to artists and decorate public buildings, normally with a national theme. The offset of these projects, the Public Works of Art Project (PWAP), was created later successful lobbying by the unemployed artists of the Artists Wedlock.^[13] The PWAP lasted less than 1 yr, and produced virtually 15,000 works of fine art. It was followed by the Federal Fine art Project of the Works Progress Administration (FAP/WPA) in 1935, which funded some of the about well-known American artists.^[xiv]

The fashion of much of the public art commissioned past the WPA was influenced past the piece of work of Diego Rivera and other artists of the contemporary Mexican muralism movement. Several dissever and related movements began and developed during the Neat Low including American scene painting, Regionalism, and Social Realism.^[15] Thomas Hart Benton, John Steuart Back-scratch, 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, often nearly abstruse, had a meaning influence on several of the younger artists who would soon become known equally Abstruse Expressionists.^[16] Joseph Cornell, inspired past Surrealism, created boxed assemblages incorporating establish objects and collage.

Abstruse expressionism [edit]

Jackson Pollock, Blue Poles Number 11, 1952, enamel and aluminium paint with drinking glass on sheet, 212.one x 488.9 cm, National Gallery of Australia. First exhibited in Pollock's studio, Blue Poles was purchased in 1973 past the Australian government for a controversial $1.iii million, condign the highest price ever paid for a painting in the history of Australia.^[17] ^[18]

In the years after World War 2, a grouping of New York artists formed the get-go American move to exert major influence internationally: abstruse expressionism. This term, which had first been used in 1919 in Berlin, was used again in 1946 past Robert Coates in The New York Times, and was taken upwardly by the two major fine art critics of that fourth dimension, Harold Rosenberg and Clement Greenberg. It has ever been criticized every bit besides large and paradoxical, yet the common definition implies the utilize of abstruse art to express feelings, emotions, what is within the creative person, and non what stands without.

The first 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, Advertizement 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, amongst 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 characterization had widely different styles, gimmicky critics found several mutual points between them. Gorky, Pollock, de Kooning, Kline, Hofmann, Motherwell, Gottlieb, Rothko, Withal, Guston, and others were an American painters associated with the abstract expressionist movement and in virtually cases Activeness painting (as seen in Kline's Painting Number 2, 1954); as part of the New York School in the 1940s and 1950s.

Many get-go generation abstract expressionists were influenced both past the Cubists' works (which they knew from photographs in art reviews and past seeing the works at the 291 Gallery or the Armory Show), by the European Surrealists, and by Pablo Picasso, Joan Miró and Henri Matisse as well every bit the Americans Milton Avery, John D. Graham, and Hans Hofmann. Most of them abandoned formal composition and representation of real objects. Ofttimes the abstract expressionists decided to try instinctual, intuitive, spontaneous arrangements of space, line, shape and color. Abstract Expressionism tin can be characterized by two major elements: the large size of the canvases used (partially inspired past Mexican frescoes and the works they made 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 large open up expanses of surface were two of the principles practical to the movement called Color Field painting. Ad Reinhardt, Adolph Gottlieb, Mark Rothko, Clyfford However and Barnett Newman were categorized as such. Another movement was called Action Painting, characterized by spontaneous reaction, powerful brushstrokes, dripped and splashed paint and the strong physical movements used in the production of a painting. Jackson Pollock is an case of an Activeness Painter: his creative process, incorporating thrown and dripped paint from a stick or poured straight from the can, revolutionized painting methods.^[19]

Willem de Kooning famously said about Pollock "he broke the ice for the rest of united states."^[20] Ironically Pollock'southward large repetitious expanses of linear fields are characteristic of Colour Field painting equally well, as art critic Michael Fried wrote in his essay for the catalog of Three American painters: Kenneth Noland, Jules Olitski, Frank Stella at the Fogg Art Museum in 1965. Despite the disagreements between art critics, Abstruse 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]

Color field painting continued as a move in the 1960s, every bit Morris Louis, Jules Olitski, Kenneth Noland, Cistron Davis, Helen Frankenthaler, and others sought to make paintings which would eliminate superfluous rhetoric with repetition, stripes and big, flat areas of colour.^[22]

Later abstract expressionism [edit]

During the 1950s abstract painting in America evolved into movements such every bit Neo-Dada, Post painterly brainchild, Op Art, difficult-edge painting, Minimal art, Shaped canvass painting, Lyrical Abstraction, and the continuation of Abstract expressionism. As a response to the trend toward abstraction imagery emerged through diverse new movements similar Pop Art, the Bay Area Figurative Motion and later in the 1970s Neo-expressionism.

Lyrical Abstraction along with the Fluxus movement and Postminimalism (a term starting time coined by Robert Pincus-Witten in the pages of Artforum in 1969)^[24] sought to expand the boundaries of abstruse painting and Minimalism past focusing on process, new materials and new ways of expression. Postminimalism frequently incorporating industrial materials, raw materials, fabrications, establish objects, installation, series repetition, and ofttimes with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse.^[24]

Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstruse Expressionism, Color Field Painting, Hard-border painting, Minimal Art, Op fine art, Pop Fine art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.^[25]

Lyrical Abstraction shares similarities with Color Field Painting and Abstract Expressionism, especially in the freewheeling usage of paint texture and surface. Direct drawing, calligraphic use of line, the furnishings of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in Abstruse Expressionism and Color Field Painting. Nonetheless the styles are markedly different.^[26] ^[27]

During the 1960s, 1970s and 1980s painters equally powerful and influential every bit 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, Cistron 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 modern American movements [edit]

Members of the next artistic generation favored a dissimilar form 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. Pop artists, such equally Andy Warhol (1928–1987), Larry Rivers (1923–2002), and Roy Lichtenstein (1923–1997), reproduced, with satiric care, everyday objects and images of American popular culture—Coca-Cola bottles, soup cans, comic strips.

Realism has also been continually popular in the United States, despite modernism'southward 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 dominant art fashion was grotesque, symbolic realism, as 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 United states of america in full general continues in several contiguous modes, characterized by the idea of Cultural pluralism. The "crisis" in painting and current art and electric current fine art criticism today is brought most by pluralism. There is no consensus, nor need in that location be, as to a representative way of the age. In that location is an annihilation goes attitude that prevails; an "everything going on" syndrome; with no house and clear direction and notwithstanding with every lane on the artistic motorway filled to capacity. Consequently, magnificent and important works of art continue to be fabricated in the United States admitting in a wide diversity of styles and aesthetic temperaments, the market place existence left to gauge merit.

Difficult-edge painting, Geometric brainchild, Appropriation, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Pop art, Op art, Abstract Expressionism, Color Field painting, Monochrome painting, Neo-expressionism, Collage, Intermedia painting, Assemblage painting, Digital painting, Postmodern painting, Neo-Dada painting, Shaped canvas painting, environmental mural painting, Graffiti, traditional figure painting, Landscape painting, Portrait painting, are a few continuing and current directions in painting at the first of the 21st century.

Notable figures [edit]

A few American artists of annotation 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 Shut, Thomas Cole, Robert Crumb, Edward S. 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, Mark Rothko, Albert Pinkham Ryder, John Vocaliser Sargent, Cindy Sherman, David Smith, Frank Stella, Clyfford Yet, 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 Academy Press. 1948. p. 20. ISBN 0823215237
^ Booker Wright, Louis, The Arts in America: the colonial flow. Schocken. 1975. p. 172.
^ Smithsonian National Postal Museum
^ "National Gallery of Art". Archived from the original on 2012-07-01. Retrieved 2012-06-30 .
^ Barratt, Carrie Rebora. "Students of Benjamin West (1738–1820)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–October 2004. Retrieved July 13, 2012.
^ Robert G. Stewart, James Earl: Painter of Loyalists and his career in England
^ "The Joseph Downs Collection". 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 Art. Retrieved July 13, 2012
^ National Museum of American Art (U.South.), & Kloss, W. Treasures from the National Museum of American Art. Washington: National Museum of American Fine art. 1985. pp. 189–190. ISBN 0874745950
^ History of the New Deal Fine art Projects
^ Eric Arnesen, ed. Encyclopedia of U.S. labor and working-class history (2007) vol. 1 p. 1540
^ MoMA, The Collection, Social Realism
^ Chernow, Bert. Milton Avery: a singular vision: [exhibition], Middle for the Fine Arts, Miami. Miami, Florida: Trustees of the Heart 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'due south landmark piece of work remains in pole position". The Australian . Retrieved November i, 2012.
^ The Encyclopedia Americana, Volume one, Grolier Incorporated, Jan ane, 1999, p. 56, ISBN 0717201317
^ Carolyn Lanchner, Jasper Johns, The Museum of Modern Art, New York, N.Y., 2009, p. 20, ISBN 087070768X
^ Paul Cummings, American Drawings: the 20th Century, Viking Printing, University of Michigan, 1976, ISBN 0670117846
^ William S. Rubin, Frank Stella, The Museum of Modern Art, Distributed by New York Graphic Gild, Greenwich, CT, 1970
^ Baal-Teshuva, Jacob. Mark Rothko, 1903–1970: Pictures equally Drama. New York: Taschen, 2003
^ ^a ^b Movers and Shakers, New York, "Leaving C&1000", by Sarah Douglas, Art+Auction, March 2007, Five.XXXNo7.
^ Martin, Ann Ray, and Howard Junker. The New Art: It's Way, Way Out, Newsweek July 29, 1968: pp.3,55-63.
^ Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–December 1969, pp.104–113.
^ Thomas B. Hess on Larry Aldrich, Retrieved June 10, 2010

Sources [edit]

American paradise: the earth of the Hudson River schoolhouse . New York: The Metropolitan Museum of Fine art. 1987. ISBN9780870994968.
Avery, Kevin J. Late Eighteenth-Century American Drawings. The Metropolitan Museum Of Fine art. 2000-2011 The Metropolitan Museum Of Art
Bernet, Claus; Nothnagle, Alan Fifty.: Christliche Kunst aus den USA, Norderstedt 2015, ISBN 978-iii-7386-1339-1.
Mayer, Lance and Myers, Gay. American Painters on Technique: The Colonial Menstruum to 1860. Los Angeles: Getty Publications, 2011. ISBN 978-i-60606-077-3
Mayer, Lance and Myers, Gay. American Painters on Technique: 1860-1945. Los Angeles: Getty Publications, 2013. ISBN 978-ane-60606-135-0
Pohl, Frances K. Framing America. A Social History of American Fine art. New York: Thames & Hudson, 2002 (pages 74–84, 118–122, 366–365, 385, 343–344, 350–351)
The United states of America. New York: The Metropolitan Museum of Fine art. 1987. ISBN0870994166.

External links [edit]

American Paintings in The Metropolitan Museum of Art, a fully digitized 3 book exhibition catalog
Inquiring Eye: American Painting, teaching resources on history of American painting

campanellawisideeple.blogspot.com

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