- published: 18 Aug 2010
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Visual art of The United States or American art is visual art made in the United States or by American artists. Before colonization there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish 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 late 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 also established in the major cities, but in the English colonies, locally-made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.
But in the later 18th century two American artists, Benjamin West and John Singleton Copley, became the most successful painters in London of history painting, then regarded as the highest form of art, giving the first sign of an emerging force in Western art. American artists who remained at home became increasingly skilled, although there was little awareness of them in Europe. In the early 19th century the infrastructure to train artists began to be established, and from 1820 the Hudson River School began to produce Romantic landscape painting that was original and matched the huge scale of American landscapes. The American Revolution produced a demand for patriotic art, especially history painting, while other artists recorded the frontier country. A parallel development taking shape in rural America was the American craft movement, which began as a reaction to the industrial revolution.
The Archives of American Art is the largest collection of primary resources documenting the history of the visual arts in the United States. More than 20 million items of original material are housed in the Archives' research centers in Washington, D.C. and New York City.
As a research center within the Smithsonian Institution, the Archives houses materials related to a variety of American visual art and artists. All regions of the country and numerous eras and art movements are represented. Among the significant artists represented in its collection are Jackson Pollock, Lee Krasner, Marcel Breuer, Rockwell Kent, John Singer Sargent, Winslow Homer, John Trumbull, and Alexander Calder. In addition to the papers of artists, the Archives collects documentary material from art galleries, art dealers, and art collectors. It also houses a collection of over 2,000 art-related oral history interviews, and publishes a bi-yearly publication, the Archives of American Art Journal, which showcases collections within the Archives.
Art is a diverse range of human activities in creating visual, auditory or performing artifacts – artworks, expressing the author's imaginative or technical skill, intended to be appreciated for their beauty or emotional power. In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art.
The oldest form of art are visual arts, which include creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Architecture is often included as one of the visual arts; however, like the decorative arts, it involves the creation of objects where the practical considerations of use are essential—in a way that they usually are not in a painting, for example. Music, theatre, film, dance, and other performing arts, as well as literature and other media such as interactive media, are included in a broader definition of art or the arts. Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.
American(s) may refer to:
An archive is an accumulation of historical records or the physical place they are located. Archives contain primary source documents that have accumulated over the course of an individual or organization's lifetime, and are kept to show the function of that person or organization. Professional archivists and historians generally understand archives to be records that have been naturally and necessarily generated as a product of regular legal, commercial, administrative or social activities. They have been metaphorically defined as "the secretions of an organism", and are distinguished from documents that have been consciously written or created to communicate a particular message to posterity.
In general, archives consist of records that have been selected for permanent or long-term preservation on grounds of their enduring cultural, historical, or evidentiary value. Archival records are normally unpublished and almost always unique, unlike books or magazines for which many identical copies exist. This means that archives are quite distinct from libraries with regard to their functions and organization, although archival collections can often be found within library buildings.
Lists | Archives of American Art
Artists Unframed Snapshots from the Smithsonian's Archives of American Art
Dear Diaries: HangTime with Archives of American Art
George Tsutakawa: An Artist's Pilgrimage
More than Words Illustrated Letters from the Smithsonian's Archives of American Art
"Don't Look Now" at Thread Waxing Space
Art Discovers America (1943)
Richard J. Powell, Acceptance Speech, Archives of American Art Benefit 2013
Pen to Paper Artists' Handwritten Letters from the Smithsonian's Archives of American Art
John Zinsser
David Reed
Where Art Comes Alive
Barbara Haskell: "Night Vision: Nocturnes in American Art, 1860-1960"
Face-off
I Found it in the Archives: The sensibility of an artist, the 1956 Columbian
Pen to Paper
Field trip to Gordon Matta-Clark's "Splitting" house, circa 1974
Painting Techniques of Henry Ossawa Tanner
Robert Laurent home movies
Artists & Archives: A Pacific Standard Time Symposium (Part 1 of 3)
Go behind the scenes at the Archives of American Art, part of the Smithsonian Institute, as the lists of artists are showcased in a current exhibit.
Please join us Friday, November 21, from 3:30-4:00 pm EST for an exclusive behind-the-scenes discussion of artists' diaries and handwriting with Archives of American Art Curator Mary Savig. Mary is Curator of Manuscripts at the Archives of American Art. She has curated several exhibitions and is author of Handmade Holiday Cards from 20th-Century Artists (Smithsonian Books, 2012). Here's your chance to ask questions about the world's largest resource for papers and primary sources of visual art in America. Send us your questions by posting them in the comments, via Twitter (@TranscribeSI) or on our Facebook wall, or by e-mail: transcribe@si.edu
Japanese American sculptor George Tsutakawa discusses his training, WWII Japanese internment camps, views on art, and commissions in Seattle and Japan. The installation of his "Fountain of Lotus" in his ancestral home of Fukayama, Japan, 1988, is documented. Program created from footage shot for the Archives of American Art's "George Tsutakawa in Japan Video Project," and "George Tsutakawa Video Interviews." Funding was provided by Hatch & Kirk, Inc., the Kreielsheimer Foundation, Sony Corp., Warner Communications, Dr. and Mrs. Ellsworth C. Alvord, Jr., Mr. and Mrs. Marshall Hatch, and Bay Area Video Coalition.
A video walk-through of the exhibition by curator Joshua Decter. The exhibition was held at Thread Waxing Space between January 22 and February 26, 1994. Please note that at approximately 24 minutes and 21 seconds into the video, the camera's attention shifts to the work of an artist that was in another part of the exhibition space. This was a separate one-person (currently unidentified) artist's presentation and had nothing to do with "Don't Look Now". From the Thread Waxing Space records, 1980s-2001. Archives of American Art, Smithsonian Institution.
The Archives of American Art recently preserved the short film Art Discovers America," created by Alfredo Valente, with funding provided by the National Film Preservation Foundation. The film is a WWII-era documentary about what Valente calls a maturing National Art in the United States. It contains extensive staged footage of significant early 20th century artists at work, including Raphael Soyer, John Sloan, Thomas Hart Benton, Reginald Marsh, and Abraham Walkowitz. Valente knew these artists - had photographed them and collected artwork by them - and the film could not have been made without their cooperation. The artists take pains to demonstrate their working methods for the camera, providing us with an intimate and authentic look at their practices. Unfortunately, the orig...
On Tuesday, October 22, 2013, the Archives of American Art presented art historian Richard J. Powell with the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History.
John Zinsser reflected on the legacy of Robert Motherwell and his practice as an artist at "A Symposium on Robert Motherwell." The event was hosted by the Archives of American Art and funded by the Dedalus Foundation, Inc. The event was held in the MacMillan Education Center of the Donald W. Reynolds Center for American Art and Portraiture in Washington, D.C.
David Reed reflected on the legacy of Robert Motherwell and his practice as an artist at "A Symposium on Robert Motherwell." The event was hosted by the Archives of American Art and supported by the Dedalus Foundation, Inc. The event was held in the MacMillan Education Center of the Donald W. Reynolds Center for American Art and Portraiture in Washington, D.C.
Explore the unique collections of the Archives of American Art, and help us build our future at http://www.aaa.si.edu/support.
As the keynote speaker to open the summer exhibition, Night Vision: Nocturnes in American Art, 1860-1960, Barbara Haskell discussed iconic paintings of the night that came to define American modernism and explore why so many canonical painters of the period were attracted to the dark. Haskell has curated many groundbreaking exhibitions dedicated to modern and contemporary art in the United States. She is a recipient of the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History, from the Archives of American Art.
A 1979 video performance by Robert and Ingrid Wiegand, from the Robert Wiegand papers and video art collection, Archives of American Art, Smithsonian Institution.
Curator of Manuscripts, Liza Kirwin explores the relationship between artist William T. Wiley, and his high school art teacher James McGrath through the lens of a high school year ook (the 1956 "Columbian").
Our publication "Pen to Paper: Artists' Handwritten Letters from the Smithsonian's Archives of American Art" is now available for sale online and in bookstores near you.
Holly Solomon, Gordon Matta-Clark, and a schoolbus full of people travel from 98 Greene Street in SOHO to the Englewood, NJ site of Matta-Clark's site-specific work, "Splitting." From the Holly Solomon Gallery records, circa 1948-2003. Archives of American Art. http://www.aaa.si.edu/collections/holly-solomon-gallery-records-15859/more
Conservators Amber Kerr-Allison and Brian Baade present findings of their recent study and analysis of six of Tanner's works in the permanent collection, including the newly conserved Flight into Egypt. Learn how Tanner's documented painting recipe, preserved in the Archives of American Art, contributed to their understanding and analysis of this artist's technique that produced some of the most vibrant paintings at the turn of the 20th century.
To celebrate Home Movie Day 2014, the Archives of American Art is sharing a few of the home movies from our collections. Robert Laurent was an American painter, sculptor, teacher, etcher, and writer from Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine. The film includes footage of Laurent at work in his Brooklyn studio, of Fairmont Park, Pennsylvania, of family members in Brittany, of Gaspe, of Woodstock, New York including fellow artists Arnold Blanche, Carl Walters, Emil Ganso, Ernest Fiene, Stefan Hirsch, Rudy Dirks, and others, and scenes from a cocktail party in Ogunquit, Maine (given by Ker Fravaal) with Ogunquit artists and cartoonists. From the Ro...
Part 1 of 3: Opening Remarks Marcia Reed, Getty Research Institute Introductions John Tain, Getty Research Institute Liza Kirwin, Archives of American Art Keynote Address Un-Knowing, Getting Lost, Linking Points in Space: The New Archival Practice Sven Spieker, University of California, Santa Barbara Artists George Herms, Mario Garcia Torres, and Suzanne Lacy and scholars Julia Bryn-Wilson and Sven Spieker gather at the Getty Center to explore the ways in which contemporary artists incorporate archives into their work. This symposium was organized by the Getty Research Institute in partnership with the Smithsonian Institution's Archives of American Art and presented in conjunction with the Pacific Standard Time exhibition Greetings from L.A.: Artists and Publics, 1950 - 1980. Lea...
Please join us Friday, November 21, from 3:30-4:00 pm EST for an exclusive behind-the-scenes discussion of artists' diaries and handwriting with Archives of American Art Curator Mary Savig. Mary is Curator of Manuscripts at the Archives of American Art. She has curated several exhibitions and is author of Handmade Holiday Cards from 20th-Century Artists (Smithsonian Books, 2012). Here's your chance to ask questions about the world's largest resource for papers and primary sources of visual art in America. Send us your questions by posting them in the comments, via Twitter (@TranscribeSI) or on our Facebook wall, or by e-mail: transcribe@si.edu
Japanese American sculptor George Tsutakawa discusses his training, WWII Japanese internment camps, views on art, and commissions in Seattle and Japan. The installation of his "Fountain of Lotus" in his ancestral home of Fukayama, Japan, 1988, is documented. Program created from footage shot for the Archives of American Art's "George Tsutakawa in Japan Video Project," and "George Tsutakawa Video Interviews." Funding was provided by Hatch & Kirk, Inc., the Kreielsheimer Foundation, Sony Corp., Warner Communications, Dr. and Mrs. Ellsworth C. Alvord, Jr., Mr. and Mrs. Marshall Hatch, and Bay Area Video Coalition.
A video walk-through of the exhibition by curator Joshua Decter. The exhibition was held at Thread Waxing Space between January 22 and February 26, 1994. Please note that at approximately 24 minutes and 21 seconds into the video, the camera's attention shifts to the work of an artist that was in another part of the exhibition space. This was a separate one-person (currently unidentified) artist's presentation and had nothing to do with "Don't Look Now". From the Thread Waxing Space records, 1980s-2001. Archives of American Art, Smithsonian Institution.
Conservators Amber Kerr-Allison and Brian Baade present findings of their recent study and analysis of six of Tanner's works in the permanent collection, including the newly conserved Flight into Egypt. Learn how Tanner's documented painting recipe, preserved in the Archives of American Art, contributed to their understanding and analysis of this artist's technique that produced some of the most vibrant paintings at the turn of the 20th century.
Part 1 of 3: Opening Remarks Marcia Reed, Getty Research Institute Introductions John Tain, Getty Research Institute Liza Kirwin, Archives of American Art Keynote Address Un-Knowing, Getting Lost, Linking Points in Space: The New Archival Practice Sven Spieker, University of California, Santa Barbara Artists George Herms, Mario Garcia Torres, and Suzanne Lacy and scholars Julia Bryn-Wilson and Sven Spieker gather at the Getty Center to explore the ways in which contemporary artists incorporate archives into their work. This symposium was organized by the Getty Research Institute in partnership with the Smithsonian Institution's Archives of American Art and presented in conjunction with the Pacific Standard Time exhibition Greetings from L.A.: Artists and Publics, 1950 - 1980. Lea...
John Zinsser reflected on the legacy of Robert Motherwell and his practice as an artist at "A Symposium on Robert Motherwell." The event was hosted by the Archives of American Art and funded by the Dedalus Foundation, Inc. The event was held in the MacMillan Education Center of the Donald W. Reynolds Center for American Art and Portraiture in Washington, D.C.
Jennifer Sichel, Predoctoral Fellow (at the Archives of American Art), University of Chicago “‘Do You Think Pop Art’s Queer?’: Gene Swenson, Andy Warhol, and the Other Tradition”
These charming home movies were made by the artists Stefan Hirsch and Elsa Rogo while living in Mexico during the 1930s and early 1940s. Included are seven small reels of black and white film, and two reels of color film, preserved with funding provided by the National Film Preservation Foundation. While there is limited documentation of the film footage, several of the reels appear to have been shot in the town of Tehuantepec, in the Mexican state of Oaxaca, and some of the footage made have been made in Taxco, located in the state of Guerrero. Shown are market scenes, people working, a procession and festival, and scenes of village life that appear to have been staged with the involvement of the villagers. Elsa Rogo ran an art school for children during her years in Taxco, and some o...
As the keynote speaker to open the summer exhibition, Night Vision: Nocturnes in American Art, 1860-1960, Barbara Haskell discussed iconic paintings of the night that came to define American modernism and explore why so many canonical painters of the period were attracted to the dark. Haskell has curated many groundbreaking exhibitions dedicated to modern and contemporary art in the United States. She is a recipient of the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History, from the Archives of American Art.
Holly Solomon, Gordon Matta-Clark, and a schoolbus full of people travel from 98 Greene Street in SOHO to the Englewood, NJ site of Matta-Clark's site-specific work, "Splitting." From the Holly Solomon Gallery records, circa 1948-2003. Archives of American Art. http://www.aaa.si.edu/collections/holly-solomon-gallery-records-15859/more
To celebrate Home Movie Day 2014, the Archives of American Art is sharing a few of the home movies from our collections. Robert Laurent was an American painter, sculptor, teacher, etcher, and writer from Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine. The film includes footage of Laurent at work in his Brooklyn studio, of Fairmont Park, Pennsylvania, of family members in Brittany, of Gaspe, of Woodstock, New York including fellow artists Arnold Blanche, Carl Walters, Emil Ganso, Ernest Fiene, Stefan Hirsch, Rudy Dirks, and others, and scenes from a cocktail party in Ogunquit, Maine (given by Ker Fravaal) with Ogunquit artists and cartoonists. From the Ro...
Michelle Moravec, Associate Professor of History, Rosemont College and Melissa Rogers, Ph.D. Student in Women's Studies, University of Maryland, Visualizing Schneemann
A. Joan Saab, Associate Professor of Art History/Visual and Cultural Studies, University of Rochester, "Searching For Siqueiros"
DR. SARAH ARCHINO – “Image Withheld: Censorship and Avant-Garde Parody”; SIOFRA MCSHERRY – “‘Ever-Grateful Wonder.’ The Gift as a Model for the Artistic Community: An Interdisciplinary Exchange Between Joseph Cornell and Marianne Moore”; DR. RACHEL SANDERS – “Intellectual Convictions and Emotional Experience: Women Artists and Critics in The Liberator and New Masses”; KAREN HEATH – “The Artist as Political Admirer: The Curious Tale of Andrew Wyeth and Richard Nixon” - papers presented at the “Wordstruck: American Artists as Readers, Writers and Literati” conference in Lublin, Poland, on May 13, 2015. Note: at the request of Dr. Karen Heath, the video recording of her presentation is not available for viewing. The Department of American Studies at Maria Curie-Sklodowska University, Lubl...
Emily Pugh, Webmaster Nineteenth-Century Art Worldwide and National Gallery of Art, "Art History Online: Nineteenth-Century Art Worldwide's Digital Research and Publishing Initiative"
Carrie Moyer reflected on the legacy of Robert Motherwell and her practice as an artist at "A Symposium on Robert Motherwell." The event was hosted by the Archives of American Art and funded by the Dedalus Foundation, Inc. The event was held in the MacMillan Education Center of the Donald W. Reynolds Center for American Art and Portraiture in Washington, D.C.
DR. ERIKA DOSS – “Writing My Religion: Journalistic Practices and Issues of Faith for Modern American Artists” - a keynote lecture presented at the “Wordstruck: American Artists as Readers, Writers and Literati” conference in Lublin, Poland, on May 14, 2015. The Department of American Studies at Maria Curie-Sklodowska University, Lublin, Poland, hosted “Wordstruck: American Artists as Readers, Writers and Literati” between May 13-16, 2015. The conference was made possible thanks to a grant from the Terra Foundation for American Art and the support of the MCSU Authorities. Its goal was to explore the intellectual endeavors and other significant achievements of American painters from the colonial era to the post-World War II years. The conference offered an occasion for discussing the place...
Art historians Jennifer Cohen, Gregory Gilbert, and Kent Minturn participated in a Q & A session following their panel at "A Symposium on Robert Motherwell." The event was hosted by the Archives of American Art and funded by the Dedalus Foundation, Inc. The event was held in the MacMillan Education Center of the Donald W. Reynolds Center for American Art and Portraiture in Washington, D.C.
This two-day symposium examines the role of Africa and its diaspora in the development of art of the United States, from nineteenth-century portraiture to American modernism; from the Harlem Renaissance to the contemporary art world. Chair: Kelly Quinn, Terra Foundation Project Manager for Scholarly and Educational Initiatives, Archives of American Art Celeste-Marie Bernier, Professor of African American Studies, University of Nottingham "Imaging the 'Face of the Fugitive Slave' Artist in Black Diasporic Self-Portraiture" Venny Nakazibwe, Dean of The Margaret Trowell School of Industrial and Fine Arts, Makerere University, Kampala, Uganda "African Textiles in Dialogue with Contemporary Fiber Art" Featuring the video "Willis 'Bing' Davis: On the Shoulders of Those Who Came Before." http:...
DR. BRYAN J. ZYGMONT: “Charles Willson Peale, the Enlightenment, and The Great Mastodon: Identity, Science, and Art in Early Federal America”; DR. MAREK WILCZYŃSKI: “The American-ization of the Sublime: Washington Allston and Thomas Cole as Theorists of American Art” - papers presented at the “Wordstruck: American Artists as Readers, Writers and Literati” conference in Lublin, Poland, on May 13, 2015. The Department of American Studies at Maria Curie-Sklodowska University, Lublin, Poland, hosted “Wordstruck: American Artists as Readers, Writers and Literati” between May 13-16, 2015. The conference was made possible thanks to a grant from the Terra Foundation for American Art and the support of the MCSU Authorities. Its goal was to explore the intellectual endeavors and other significant a...
Thick green I pushed backWaiting through the thick black
Footprints in the thickest grass
Wolves always find my tracks
A flare, a far cry of mine
Just push the leaves away
A flare, a far cry of mine
Just push the leaves away
I find myself alone again, alone again
A flare, a far cry of mine
Just push the leaves away
A flare, a far cry of mine
Just push the leaves away
I find myself alone again, alone again
I find myself alone again, alone again
A flare, a far cry of mine
Just push the leaves away
A flare, a far cry of mine
Just push the leaves away
I find myself alone again, alone again
I find myself alone again, alone again