European Folk Art In Europe And The Americas

Overshadowed by the work of the great masters, folk art was for centuries neglected by collectors and museums, and scorned by connoisseurs. Indeed it only began to attract serious critical attention and public appreciation during the nineteenth century, while the spread of the Industrial Revolution was threatening it with extinction. Since then, though scholars have devoted much effort to the study of the subject on a national or regional basis, and have published the fruits of their researches in monographs and specialist journals, no major work of synthesis has appeared. The field is vast, for, if we include those American communities which are of European origin, it ranges (in area) from the Urals to the Catskills, and from Norway to Peru, and (in time) from the Middle Ages onwards. This rich and varied body of anonymous achievement in the arts and crafts has now been made the subject of an exhaustive coordinated study under the editorship of H J Hansen. The contributors are all specialists who are professionally concerned with the study and preservation of folk art, and have been drawn from many countries. In the text, the subject is treated country by country. In the illustrations, the artifacts are arranged by category: buildings, furniture, household utensils, ceramics, glass, costume, toys, woodcarving and painting-a uniquely comprehensive pictorial survey, made possible by the generosity of museums and private collectors all over Europe, who freely made their treasures available for the purpose. The last chapter, devoted to folk art on the market, is a valuable guide to the collector and dealer. Indispensable to the scholar, this book will also be a revelation to anyone who has hitherto regarded folk art as being inevitably quaint or primitive. It provides a remarkable record of the beauty and refinement of style which result from direct contact between the human creative impulse and the articles used in everyday life by ordinary people.

Listen to the artists of the Brazilian Northeast. Their work, they say, comes of continuity and creativity. Continuity runs along lines of learning toward social coherence. Creativity brings challenges and deep personal satisfaction. What they say and do in Brazil aligns with ethnographic evidence from New Mexico and North Carolina; from Ireland, Portugal, and Italy; from Nigeria, Turkey, India, and Bangladesh; from China and Japan. This book is about that, about folk art as a sign of human unity.

Included in the examples are works from the Charleston and Old Slave Mart museums and the ironwork of Philip Simmons.

The country's leading authority on use of artifactual evidence in historical research collects twenty-five classic essays and gives his overview of the field of material culture.

Describes the characteristics of folk cultures and discusses the procedures used by social scientists to study folklife.

For a full list of entries, contributors, and more, visit the Encyclopedia of American Folk Art web site. This is the first comprehensive, scholarly study of a most fascinating aspect of American history and culture. Generously illustrated with both black and white and full-color photos, this A-Z encyclopedia covers every aspect of American folk art, encompassing not only painting, but also sculpture, basketry, ceramics, quilts, furniture, toys, beadwork, and more, including both famous and lesser-known genres. Containing more than 600 articles, this unique reference considers individual artists, schools, artistic, ethnic, and religious traditions, and heroes who have inspired folk art. An incomparable resource for general readers, students, and specialists, it will become essential for anyone researching American art, culture, and social history.