Most Popular Art Among 1834 Year Olds in United States

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

Visual art of the U.s. or American art is visual art made in the Us or by U.S. artists. Before colonization there were many flourishing traditions of Native American art, and where the Castilian colonized Castilian Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White (1540-c. 1593) the earliest example. In the tardily 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were as well established in the major cities, but in the English language colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.

But in the after 18th century two U.S. artists, Benjamin West and John Singleton Copley, became the almost successful painters in London of history painting, then regarded as the highest grade of art, giving the kickoff sign of an emerging forcefulness in Western art. American artists who remained at domicile became increasingly skilled, although there was footling sensation of them in Europe. In the early 19th century the infrastructure to train artists began to exist established, and from 1820 the Hudson River School began to produce Romantic landscape painting that was original and matched the huge scale of U.Due south. landscapes. The American Revolution produced a demand for patriotic fine art, especially history painting, while other artists recorded the borderland country. A parallel development taking shape in rural U.Southward. was the American craft motility, which began every bit a reaction to the industrial revolution.

Afterward 1850 Academic art in the European style flourished, and as richer Americans became very wealthy, the flow of European art, new and old, to the US began; this has continued always since. Museums began to exist opened to display much of this. Developments in mod art in Europe came to the U.S. from exhibitions in New York City such as the Armory Show in 1913. After World State of war 2, New York replaced Paris as the center of the art globe. Since and so many U.S. movements have shaped Modern and Postmodern fine art. Art in the United States today covers a huge range of styles.

Beginnings [edit]

I 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 (at present in the British Museum). White first visited America equally the artist and map-maker for an expedition of exploration, and in the early years of the Colonial period most other artists trained in Western styles were officers in the army and navy, whose grooming included sketching landscapes. Eventually the English language settlements grew large enough to support professional artists, generally portrait-painters, oft largely cocky-taught.

Amid the earliest was John Smybert (1688–1751), a trained artist from London who emigrated in 1728 intending to be a professor of fine art, but 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 later to be American could run into mostly religious art in the late Bizarre style, mostly by native artists, and Native American cultures connected to produce fine art in their diverse traditions.

Eighteenth century [edit]

After the Announcement of Independence in 1776, which marked the official beginning of the American national identity, the new nation needed a history, and part of that history would be expressed visually. Near of early American art (from the tardily 18th century through the early 19th century) consists of history painting and peculiarly portraits. As in Colonial America, many of the painters who specialized in portraits were essentially cocky-taught; notable among them are Joseph Badger, John Brewster Jr., and William Jennys. The young nation'due south artists mostly emulated the mode of British art, which they knew through prints and the paintings of English-trained immigrants such every bit John Smibert (1688–1751) and John Wollaston (agile 1742–1775).^[2]

Robert Feke (1707–1752), an untrained painter of the colonial flow, accomplished a sophisticated style based on Smibert'due south example.^[3] Charles Willson Peale, who gained much of his earliest art training past studying Smibert's copies of European paintings,^[4] painted portraits of many of the important figures of the American Revolution. Peale'due south younger brother James Peale and half-dozen of Peale's nieces and sons— Anna Claypoole Peale, Sarah Miriam Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. Painters such every bit Gilbert Stuart made portraits of the newly elected government officials,^[1] which became iconic after being reproduced on diverse U.Due south. Postage stamp stamps of the 19th century and early 20th century.^[5]

John Singleton Copley painted emblematic portraits for the increasingly prosperous merchant class, including a portrait of Paul Revere (ca. 1768–1770). The original version of his nearly famous painting, Watson and the Shark (1778), is in the collection of The National Gallery of Art^[6] while there is some other version in the Boston Museum of Fine Arts and a third version in the Detroit Found of Arts. Benjamin West painted portraits also as history paintings of the French and Indian War. West also worked in London where many American artists studied under him, including Washington Allston,^[7] Ralph Earl, James Earl,^[8] Samuel Morse, Charles Willson Peale, Rembrandt Peale, Gilbert Stuart, John Trumbull, Mather Brown, Edward Fell and Thomas Sully.^[9] John Trumbull painted large battle scenes of the Revolutionary State of war. When landscape was painted it was nigh oftentimes done to show how much property a bailiwick endemic, or equally a picturesque groundwork for a portrait.

Selection of works by early on American artists [edit]

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Nineteenth century [edit]

National Gallery of Art, Washington DC.

The beginning well-known U.S. schoolhouse 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. Equally with music and literature, this evolution 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 later artists as John Kensett and the Luminists; also as George Inness and the tonalists (which included Albert Pinkham Ryder and Ralph Blakelock among others), and Winslow Homer (1836–1910), who depicted the rural U.S.—the sea, the mountains, and the people who lived about them.

The Hudson River School mural painter Robert S. Duncanson was i of the commencement important African American painters. John James Audubon, an ornithologist whose paintings documented birds, was one of the most important naturalist artists in the early U.S. His major work, a set 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 Society of Friends. He became a Quaker icon because of his paintings.

Paintings of the Great West, many of which emphasized the sheer size of the state and the cultures of the native people living on it, became a distinct genre every bit well. George Catlin depicted the Due west and its people every bit honestly as possible. George Caleb Bingham, and afterward Frederic Remington, Charles 1000. Russell, the lensman Edward S. Curtis, and others recorded the U.S. Western heritage and the Old American Westward through their art.

History painting was a less pop genre in U.S. art during the 19th century, although Washington Crossing the Delaware, painted by the German-born Emanuel Leutze, is amidst the all-time-known U.South. paintings. The historical and military machine paintings of William B. T. Trego were widely published after his death (co-ordinate to Edwin A. Peeples, "At that place is probably not an American History book which doesn't have (a) Trego picture show in it").^[x]

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 as Thomas Sully and Chiliad.P.A. Healy. Middle-class city life found its painter in Thomas Eakins (1844–1916), an uncompromising realist whose unflinching honesty undercut the genteel preference for romantic sentimentalism. As a result, he was not notably successful in his lifetime, although he has since been recognized as ane of the most significant U.S. artists.^[xi] 1 of his students was Henry Ossawa Tanner, the first African-American painter to achieve international acclaim.

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

The most successful U.S. sculptor of his era, Hiram Powers, left the U.S. in his early thirties to spend the rest of his life in Europe, where he adopted a conventional manner for his idealized female nudes such as 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 Singer Sargent, all of whom were influenced past French Impressionism. Theodore Robinson visited France 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 skillful by artists such as Childe Hassam and Frank W. Benson, became a popular style.

Selection of notable 19th-century works [edit]

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Twentieth century [edit]

Controversy before long became a way 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 creative values," announced Robert Henri (1865–1929). He was the leader of what critics called the Ashcan school of painting, later the group'due south portrayals of the squalid aspects of city life.

American realism became the new direction for American visual artists at the plow of the 20th century. The Ashcan painters George Bellows, Everett Shinn, George Benjamin Luks, William Glackens, and John Sloan were among those who developed socially conscious imagery in their works. The photographer Alfred Stieglitz (1864–1946) led the Photo-Secession motion, which created pathways for photography as an emerging art form.

Before long the Ashcan school artists gave mode to modernists arriving from Europe—the cubists and abstract painters promoted past Stieglitz at his 291 Gallery in New York City. John Marin, Marsden Hartley, Alfred Henry Maurer, Arthur B. Carles, Arthur Pigeon, Henrietta Shore, Stuart Davis, Wilhelmina Weber, Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Andrew Dasburg, Georgia O'Keeffe, and Gerald White potato were some of import early American modernist painters. Early on modernist sculptors in America include William Zorach, Elie Nadelman, and Paul Manship. Florine Stettheimer developed an extremely personal false-naif mode.

Subsequently Earth War I many American artists rejected the modern trends emanating from the Armory Evidence 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 Forest, Reginald Marsh, Guy Pène du Bois, and Charles Sheeler exemplify the realist trend in dissimilar ways. 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 mode of realism by concentrating on light and form, and fugitive overt social content.

The American Southwest [edit]

Following the first Globe War, the completion of the Santa Fe Railroad enabled American settlers to travel across the westward, as far as the California coast. New artists' colonies started growing upwards around Santa Fe and Taos, the artists' main subject affair beingness the native people and landscapes of the Southwest.

Images of the Southwest became a popular form of advertising, used most significantly by the Santa Fe Railroad to entice settlers to come west and savour the "unsullied landscapes." Walter Ufer, Bert Geer Phillips, East. 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 belatedly 19th century, became known for her paintings featuring flowers, basic, and landscapes of New Mexico equally seen in Ram's Head White Hollyhock and Little Hills. O'Keeffe visited the Southwest in 1929 and moved there permanently in 1949; she lived and painted there until she died in 1986.

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

The Harlem Renaissance was some other significant evolution in American 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 move, 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 Brutal, Archibald Motley, Lois Mailou Jones, Palmer Hayden and Sargent Johnson.

New Bargain art (1930s) [edit]

When the Great Low worsened, president Roosevelt'due south New Deal created several public arts programs. The purpose of the programs was to give work to artists and decorate public buildings, normally with a national theme. The start of these projects, the Public Works of Art Project (PWAP), was created later successful lobbying by the unemployed artists of the Artists Union.^[13] The PWAP lasted less than one year, and produced nearly 15,000 works of art. Information technology was followed by the Federal Art Project of the Works Progress Assistants (FAP/WPA) in 1935, which funded some of the virtually well-known American artists.^[14]

The style of much of the public fine art commissioned past the WPA was influenced by the piece of work of Diego Rivera and other artists of the contemporary Mexican muralism movement. Several separate and related movements began and developed during the Great Low including American scene painting, Regionalism, and Social Realism.^[15] Thomas Hart Benton, John Steuart Curry, Grant Forest, 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 betwixt the wars were Regionalists or Social Realists; Milton Avery's paintings, oftentimes nearly abstract, had a meaning influence on several of the younger artists who would soon go known as Abstract Expressionists.^[sixteen] Joseph Cornell, inspired by Surrealism, created boxed assemblages incorporating plant objects and collage.

Abstract expressionism [edit]

Jackson Pollock, Blueish Poles Number xi, 1952, enamel and aluminium paint with glass on canvas, 212.one 10 488.ix cm, National Gallery of Australia. First exhibited in Pollock's studio, Blue Poles was purchased in 1973 by the Australian government for a controversial $1.3 1000000, becoming the highest cost ever paid for a painting in the history of Australia.^{[17] [18]}

In the years after Earth War II, a group of New York artists formed the first American motion to exert major influence internationally: abstract expressionism. This term, which had beginning been used in 1919 in Berlin, was used again in 1946 past Robert Coates in The New York Times, and was taken upwardly past the two major art critics of that fourth dimension, Harold Rosenberg and Clement Greenberg. It has ever been criticized as also big and paradoxical, however the mutual definition implies the use of abstruse art to express feelings, emotions, what is within the artist, and not what stands without.

The first generation of abstract expressionists included Jackson Pollock, Willem de Kooning, Mark Rothko, Franz Kline, Arshile Gorky, Robert Motherwell, Clyfford Even so, Barnett Newman, Adolph Gottlieb, Phillip Guston, Advertizement Reinhardt, James Brooks, Richard Pousette-Dart, William Baziotes, Marking Tobey, Bradley Walker Tomlin, Theodoros Stamos, Jack Tworkov, Wilhelmina Weber Furlong, David Smith, and Hans Hofmann, among 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 past this characterization had widely different styles, gimmicky critics found several common points between them. Gorky, Pollock, de Kooning, Kline, Hofmann, Motherwell, Gottlieb, Rothko, Still, Guston, and others were an American painters associated with the abstract expressionist movement and in most cases Action painting (as seen in Kline's Painting Number 2, 1954); as function of the New York School in the 1940s and 1950s.

Many first generation abstract expressionists were influenced both by 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 as the Americans Milton Avery, John D. Graham, and Hans Hofmann. Most of them abandoned formal limerick and representation of real objects. Often the abstruse expressionists decided to try instinctual, intuitive, spontaneous arrangements of space, line, shape and color. Abstruse Expressionism can be characterized past two major elements: the large size of the canvases used (partially inspired by Mexican frescoes and the works they made for the WPA in the 1930s), and the strong and unusual use of brushstrokes and experimental paint application with a new understanding of process.

Colour Field painting [edit]

The accent and intensification of color and large open up expanses of surface were ii of the principles applied to the movement chosen Colour Field painting. Ad Reinhardt, Adolph Gottlieb, Mark Rothko, Clyfford Still and Barnett Newman were categorized as such. Some other 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 example of an Action Painter: his artistic process, incorporating thrown and dripped paint from a stick or poured directly from the tin, revolutionized painting methods.^[nineteen]

Willem de Kooning famously said virtually Pollock "he broke the ice for the residue of us."^[twenty] Ironically Pollock'due south large repetitious expanses of linear fields are characteristic of Color Field painting as well, every bit 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 betwixt fine art critics, Abstruse Expressionism marks a turning-bespeak in the history of American fine art: the 1940s and 1950s saw international attending shift from European (Parisian) art, to American (New York) art.^[21]

Color field painting connected equally a motility in the 1960s, as Morris Louis, Jules Olitski, Kenneth Noland, Gene Davis, Helen Frankenthaler, and others sought to brand paintings which would eliminate superfluous rhetoric with repetition, stripes and large, flat areas of color.^[22]

After abstract expressionism [edit]

During the 1950s abstract painting in America evolved into movements such equally Neo-Dada, Post painterly brainchild, Op Art, hard-edge painting, Minimal art, Shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. As a response to the trend toward abstraction imagery emerged through various new movements like Pop Art, the Bay Area Figurative Motility and subsequently in the 1970s Neo-expressionism.

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

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

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

During the 1960s, 1970s and 1980s painters equally powerful and influential as 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, Gene 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 different class 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 U.s., despite modernism'south 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 Abstruse 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 fine art into the 21st century [edit]

At the beginning of the 21st century, contemporary art in the United States in full general continues in several face-to-face modes, characterized by the idea of Cultural pluralism. The "crisis" in painting and current art and current art criticism today is brought almost by pluralism. There is no consensus, nor need at that place be, every bit to a representative style of the age. There is an anything goes attitude that prevails; an "everything going on" syndrome; with no firm and clear direction and yet with every lane on the artistic pike filled to chapters. Consequently, magnificent and important works of art keep to be made in the United States albeit in a wide multifariousness of styles and artful temperaments, the marketplace being left to judge merit.

Hard-edge painting, Geometric abstraction, Appropriation, Hyperrealism, Photorealism, Expressionism, Minimalism, Lyrical Abstraction, Popular 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 canvass painting, environmental landscape painting, Graffiti, traditional figure painting, Landscape painting, Portrait painting, are a few standing and current directions in painting at the starting time of the 21st century.

Notable figures [edit]

A few American artists of note include: Ansel Adams, John James Audubon, Milton Avery, Jean-Michel Basquiat, Thomas Hart Benton, Albert Bierstadt, Alexander Calder, Mary Cassatt, Frederic Edwin Church, Chuck Close, 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 Singer Sargent, Cindy Sherman, David Smith, Frank Stella, Clyfford Still, Gilbert Stuart, Louis Condolement Tiffany, Cy Twombly, Andy Warhol, Grant Wood, Frank Lloyd Wright, and Andrew Wyeth.

Meet besides [edit]

• Aesthetics
• Architecture of United States
• Art educational activity in the United States
• Cinema of the United States
• History of painting
• Ledger art
• Modern art museums in the United States
• Museums of American fine art
• National Museum of the American Indian
• Native American museums in New York
• Photography in the U.s.a. of America
• Sculpture of the United States
• Synchromism
• Timeline of Native American art history
• Visual arts of Chicago
• Western painting
• Australian art
• Minimal art

References [edit]

1. ^ ^{a b} Gilbert Stuart Birthplace and Museum. Gilbert Stuart Biography. Accessed July 24, 2007.
2. ^ National Gallery of Fine art Archived 2009-05-12 at the Wayback Machine
3. ^ Flexner, James Thomas. John Singleton Copley. Fordham University Press. 1948. p. 20. ISBN 0823215237
4. ^ Booker Wright, Louis, The Arts in America: the colonial catamenia. Schocken. 1975. p. 172.
5. ^ Smithsonian National Postal Museum
6. ^ "National Gallery of Art". Archived from the original on 2012-07-01. Retrieved 2012-06-30 .
7. ^ Barratt, Carrie Rebora. "Students of Benjamin W (1738–1820)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–October 2004. Retrieved July thirteen, 2012.
8. ^ Robert G. Stewart, James Earl: Painter of Loyalists and his career in England
9. ^ "The Joseph Downs Collection". Winterthur Library. Retrieved 2008-03-24 .
10. ^ "James A. Michener Art Museum: Bucks Canton Artists". Michenermuseum.org . Retrieved 2012-04-09 .
11. ^ TFAOI.com. Philadelphia Museum of Fine art. Retrieved July 13, 2012
12. ^ National Museum of American Art (U.S.), & Kloss, W. Treasures from the National Museum of American Fine art. Washington: National Museum of American Art. 1985. pp. 189–190. ISBN 0874745950
13. ^ History of the New Deal Art Projects
14. ^ Eric Arnesen, ed. Encyclopedia of U.Due south. labor and working-class history (2007) vol. ane p. 1540
15. ^ MoMA, The Drove, Social Realism
16. ^ Chernow, Bert. Milton Avery: a singular vision: [exhibition], Middle for the Fine Arts, Miami. Miami, Florida: Trustees of the Center for the Fine Arts Association. 1987. p. eight. OCLC 19128732
17. ^ Simon Knell, National Galleries, Routledge, 2016, p. 55, ISBN 1317432428
18. ^ Cosic, Miriam (August 18, 2012). "Jackson Pollock's landmark work remains in pole position". The Australian . Retrieved Nov i, 2012.
19. ^ The Encyclopedia Americana, Volume 1, Grolier Incorporated, Jan ane, 1999, p. 56, ISBN 0717201317
20. ^ Carolyn Lanchner, Jasper Johns, The Museum of Mod Art, New York, N.Y., 2009, p. 20, ISBN 087070768X
21. ^ Paul Cummings, American Drawings: the 20th Century, Viking Press, University of Michigan, 1976, ISBN 0670117846
22. ^ William S. Rubin, Frank Stella, The Museum of Modern Art, Distributed by New York Graphic Society, Greenwich, CT, 1970
23. ^ Baal-Teshuva, Jacob. Mark Rothko, 1903–1970: Pictures as Drama. New York: Taschen, 2003
24. ^ ^{a b} Movers and Shakers, New York, "Leaving C&M", by Sarah Douglas, Art+Auction, March 2007, Five.XXXNo7.
25. ^ Martin, Ann Ray, and Howard Junker. The New Art: Information technology's Fashion, Mode Out, Newsweek July 29, 1968: pp.3,55-63.
26. ^ Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, Nov–December 1969, pp.104–113.
27. ^ Thomas B. Hess on Larry Aldrich, Retrieved June x, 2010

Sources [edit]

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

External links [edit]

• American Paintings in The Metropolitan Museum of Fine art, a fully digitized three volume exhibition itemize
• Inquiring Eye: American Painting, educational activity resource on history of American painting

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

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