By George M. Cohen
The saga of yankee paintings has a proud background and a promising destiny. finally, the US has been, throughout the centuries, a big melting pot and assimilator of outdoor inventive types, ideas, and philosophies. even though Americas paintings background is comparatively new, it has so elderly, matured, and ripened right into a well-known culture that now the realm turns to it for course, function, and that means.
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Extra resources for A History of American Art
Sample text
It was in CarpenHall that the First Continental Congress met on September 5, 1774. In the realm of domestic architecture, Mount Pleasant (1761-1762), Philadelphia, appeared like a colonial house sheathed in stuccoed rubble. Its external proportions might have been taken from Batty Langley's manual on English architecture. " Palladian windows and a richly hand-carved doorway complete the Classic finesse of the nounced gables serving ter's mass. Church (1727-1754), Philadelphia, is said been designed by the London-bom architect-physician John Kearsley.
Copley did not idealize them by having them wear Classic attire, as many of the artists of realism. falls into is filled A Nor did Copley flatpainted them in a straightforward manner. Details of costume and accessories detracted from any personal attempt at psychological penetration of the sitthe neoclassic style might have done. ter their heads. He character. In London, Copley also became a history painter. " The subters' the moment when Brooke Watson (a friend of Copley's and Lord Mayor of London) went swimming as a youth in Havana harbor and lost a leg as the result of a shark bite.
In New Amsterdam, there arose a group of Limners who painted members of the Provoost family. Their style, as seen in the portraits of Mr. and Mrs, Provoost (ca. 1700), was marked by bold delineations of countenance, especially in the modeling of the nose and chin areas. They showed a deeper concern for textural renderings than did their Patroon cousins. Scholars say the Provoost painters fell under the influence of Kneller whose engravings were popular in the colonies at that time. Finally, though not a member of the Patroon painters, traits there was the "Pollard Painter," active in New England during the early decades of the eighteenth century.
A History of American Art by George M. Cohen
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