The Life And Art Of Alfred Hutty

Mack, and a catalogue of known prints by Hutty.

The radical changes wrought by the rise of the salon system in nineteenth-century Europe provoked an interesting response from painters in the American South. Painterly trends emanating from Barbizon and Giverny emphasized the subtle textures of nature through warm color and broken brush stroke. Artists' subject matter tended to represent a prosperous middle class at play, with the subtle suggestion that painting was indeed art for art's sake and not an evocation of the heroic manner. Many painters in the South took up the stylistics of Tonalism, Impressionism, and naturalism to create works of a very evocative nature, works which celebrated the Southern scene as an exotic other, a locale offering refuge from an increasingly mechanized urban environment. Scenic Impressions offers an insight into a particular period of American art history as borne out in seminal paintings from the holdings of the Johnson Collection of Spartanburg, South Carolina. By consolidating academic information on a disparate group of objects under a common theme and important global artistic umbrella, Scenic Impressions will underscore the Johnsons' commitment to illuminating the rich cultural history of the American South and advancing scholarship in the field, specifically examining some forty paintings created between 1880 and 1940, including landscapes and genre scenes. A foreword, written by Kevin Sharp, director of the Dixon Gallery and Gardens in Memphis, Tennessee, introduces the topic. Two lead essays, written by noted art historians Estill Curtis Pennington and Martha R. Severens, discuss the history and import of the Impressionist movement—abroad and domestically—and specifically address the school's influence on art created in and about the American South. The featured works of art are presented in full color plates and delineated in complementary entries written by Pennington and Severens. Also included are detailed artist biographies illustrated by photographs of the artists, extensive documentation, and indices. Featured artists include Wayman Adams, Colin Campbell Cooper, Elliott Daingerfield, G. Ruger Donoho, Harvey Joiner, John Ross Key, Blondelle Malone, Lawrence Mazzanovich, Paul Plaschke, Hattie Saussy, Alice Ravenel, Huger Smith, Anthony Thieme, and Helen Turner.

Alfred Hutty was one of the founding members of the Charleston Etchers Club in 1923, a time when etchings were used by printmakers to celebrate the essence of the Holy City. Hutty captures the facets of Charleston life. Featured are approximately sixty scenes of the Low Country in etchings, pencil drawings, and drypoint.

In State of the Heart, Aïda Rogers has crafted an artful love letter to our state, with contributions from a host of nationally and regionally recognized writers who've written short essays on the South Carolina places that they cherish. This anthology provides a multifaceted historical and personal view of the Palmetto State. Thematically organized, this collection offers a geographic and emotional scope that is as diverse as its contributors. Sportswriters describe beloved arenas; historians reflect on church ruins and forts. A playwright recalls the magic of her first theater experience; a food writer revels in a coastal joint that serves fresh oysters. Backyards, front porches, a small library at a children's home, the drama and camaraderie of building the Savannah River Site, and places that are gone except in the memories of the writers who loved them—these are just a few of the locales covered, all showing how South Carolina has changed and inspired people in a variety of ways. State of the Heart evokes a sense of history and timelessness by bringing together heartfelt responses to South Carolina locales rooted in memory, drawing on reflection, inspiration, and love. The anthology reveals a state that is more than a playground for tourists; it's a state of human hiding places that echo in the hearts of its literary citizens. Though presented as a book about place, the collection is ultimately about our shared connections to one another, to a complex common past, and to ongoing efforts to frame and build a future of promise and possibility. Includes essays by: William P. Baldwin III, Kendall Bell, Cynthia Boiter, Shane Bradley, Lee Gordon Brockington, Ken Burger, Amanda Capps, John Celly, Robin Asbury Cutler, Billy Deal, Clair DeLune, Nathalie Dupree, Mary Eaddy, Starkey Flythe, Daniel E. Harmon, Steve Hoffius, Celie S. Holmes, Dot Jackson, Dianne "Dinah" Johnson, Sandra E. Johnson, John Lane, J. Drew Lanham, Nick Lindsay, Vennie Deas Moore, John Hammond Moore, Sam Morton, Horace Mungin, Kirk H. Neely, Liz Newall, Tom Poland, Dori Sanders, W. Thomas Smith Jr., Deno Trakas, Ceille Baird Welch, Marjory Wentworth

Charleston, South Carolina, today enjoys a reputation as a destination city for cultural and heritage tourism. In A Golden Haze of Memory, Stephanie E. Yuhl looks back to the crucial period between 1920 and 1940, when local leaders developed Charleston's trademark image as "America's Most Historic City." Eager to assert the national value of their regional cultural traditions and to situate Charleston as a bulwark against the chaos of modern America, these descendants of old-line families downplayed Confederate associations and emphasized the city's colonial and early national prominence. They created a vibrant network of individual artists, literary figures, and organizations--such as the all-white Society for the Preservation of Negro Spirituals--that nurtured architectural preservation, art, literature, and tourism while appropriating African American folk culture. In the process, they translated their selective and idiosyncratic personal, familial, and class memories into a collective identity for the city. The Charleston this group built, Yuhl argues, presented a sanitized yet highly marketable version of the American past. Their efforts invited attention and praise from outsiders while protecting social hierarchies and preserving the political and economic power of whites. Through the example of this colorful southern city, Yuhl posits a larger critique about the use of heritage and demonstrates how something as intangible as the recalled past can be transformed into real political, economic, and social power.

Symbolist artist Alfred Kubin reminisces about his extraordinary life, from his troubled youth and mental breakdown to his rebirth as an artist of world renown. Includes numerous drawings by the famed author/artist.