John Lewis Krimmel

John Lewis Krimmel was the first professional artist in the United States to base his reputation on the genre subject. The author's study documents the artist's career from three points of view: Krimmel's life in Europe and the United States from his birth in 1786 to his drowning in 1821; an analysis of his surviving works; and an interpretation of his relationship to contemporary American esthetic and intellectual movements. American Art Series. Illustrated.

The life and work of America's first genre painter

"The Metropolitan Museum began acquiring American drawings and watercolors in 1880, just ten years after its founding. Since then it has amassed more than 1,500 works executed by American artists during the eighteenth and nineteenth centuries in watercolor, pastel, chalk, ink, graphite, gouache, and charcoal. This volume documents the draftsmanship of more than 150 known artists before 1835 and that of about 60 unidentified artists of the period. It includes drawings and watercolors by such American masters as John Singleton Copley, John Trumbull, John Vanderlyn, Thomas Cole, Asher Brown Durand, George Inness, and James Abbott McNeill Whistler. Because the 504 works illustrate such a wide range of media, techniques, and styles, this publication is a veritable history of American drawing from the eighteenth through most of the nineteenth century."--Metropolitan Museum of Art website.

American genre painting flourished in the thirty years before the Civil War, a period of rapid social change that followed the election of President Andrew Jackson. It has long been assumed that these paintings--of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk--served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this enlightening book Elizabeth Johns presents a different interpretation--arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time. Analyzing works by William Sidney Mount, George Caleb Bingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humor and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newspapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers. Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices--and not a blissful celebration of American democracy--that informed the look and the richly ambiguous content of genre painting.

The development of the American nation has typically been interpreted in terms of its expansion through space, specifically its growth westward. In this innovative study, Thomas Allen posits time, not space, as the most significant territory of the young nation. He argues that beginning in the nineteenth century, the actual geography of the nation became less important, as Americans imagined the future as their true national territory. Allen explores how transformations in the perception of time shaped American conceptions of democratic society and modern nationhood. He focuses on three ways of imagining time: the romantic historical time that prevailed at the outset of the nineteenth century, the geological "deep time" that arose as widely read scientific works displaced biblical chronology with a new scale of millions of years of natural history, and the technology-driven "clock time" that became central to American culture by century's end. Allen analyzes cultural artifacts ranging from clocks and scientific treatises to paintings and literary narratives to show how Americans made use of these diverse ideas about time to create competing visions of American nationhood.

This book analyzes how American painters, sculptors, and writers, active between 1800 and 1865, depicted their response to a democratic society that failed to adequately support them financially and intellectually.

Architectural historian Moss and photographer Crane set out to celebrate the surviving historic architecture of Philadelphia. This lavishly illustrated book celebrates Philadelphia's evolution from a modest mercantile outpost of a colonial power to a world-renowned cosmopolitan city.

The Art of JAMA, Vol. III contains selected covers from the Journal of the American Medical Association, with accompanying essays that explore the background of the artists and the circumstances under which the work was completed, followed by commentary on the work itself. Selected and edited by Dr. M. Therese Southgate, JAMA contributing editor.