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Cargando... The Civil War and American Art (2012)por Eleanor Jones Harvey
   Ninguno Actualmente no hay Conversaciones sobre este libro. 3   NielsenGW | Feb 18, 2013 |  sin reseñas | añadir una reseña
"The American Civil War was arguably the first modern war. Its grim reality, captured through the new medium of photography, was laid bare. American artists could not approach the conflict with the conventions of European history painting, which glamorized the hero on the battlefield. Instead, many artists found ways to weave the war into works of art that considered the human narrative--the daily experiences of soldiers, slaves, and families left behind. Artists and writers wrestled with the ambiguity and anxiety of the Civil War and used landscape imagery to give voice to their misgivings as well as their hopes for themselves and the nation.This important book looks at the range of artwork created before, during, and following the war, in the years between 1859 and 1876. Author Eleanor Jones Harvey examines the implications of the war on landscape and genre painting, history painting, and photography, as represented in some of the greatest masterpieces of 19th-century American art. The book features extensive quotations from men and women alive during the war years, alongside text by literary figures including Emily Dickinson, Mark Twain, and Walt Whitman, among many others"-- No se han encontrado descripciones de biblioteca. |
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 Google Books — Cargando...GénerosSistema Decimal Melvil (DDC)740.973The arts Graphic arts and decorative arts Graphic arts and decorative arts Biography And HistoryClasificación de la Biblioteca del CongresoValoraciónPromedio: (4)
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The Civil War, formally started by the bombardment of Fort Sumter in April 1861 by the Confederate Army, flooded the American landscape with images of battles, gunsmoke, and death. Artists on both sides of the fighting tried—each in their own way—to incorporate both their vision of the world and the action around them into their art. Harvey writes, perhaps rather hackneyed, that the war “wrought great changes in the nation’s visual culture and character.”
She catalogues multiples works from James Hope, Frederic Church, Sanford Gifford, Winslow Homer, Matthew Brady, John Kensett, Alexander Gardner, and many others to see how the time they spent around the war changed their art. Most of the changes show how the artists dealt with the grim reality of the war and how news of the carnage was reflected in the general population. The works sought to capture both the brutality of the battlefield and the banality of camp life.
Of unique importance is how the fledgling field of photography earned it stripes as a new addition to the media of the art world. The few talented pioneers of war photography were able to bring a vision of the war back home to those who were so far removed from the fighting. While newspapers editors and pamphleteers could bend the truth is their recounting of the battles, the photographs were unflinching windows into an otherwise hidden world.
Harvey’s writing is good as one can get when talking about both savage fighting and elegant art. The juxtaposition of those two kept me reading fervently. She incorporates writing from Dickinson, Whitman, Twain, and Melville to help lend context to the artwork and the history. If you’re in any way a Civil War buff or an art lover, you should not miss out on this book. It is truly remarkable. (