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- W4247470103 abstract "AbstractIn his essay published in the 1889 anthology American Art and American Art Collections, art critic S.G.W. Benjamin observed, “American art at present is largely based on the imitation of other art—not only of past ages but of contemporary art in other countries.” Choosing to view the situation in a positive light, he added that this was no cause for discouragement: “Every nation has to pass through its imitative period … American art will soon attain the strength and courage to assert its powers in a vigorous manhood.” All unwittingly, the first part of Benjamin's assessment foreshadowed the views held until quite recently by many scholars in the twentieth century. Because late-nineteenth-century American art was perceived as eclectic and unoriginal, its terrain remained largely unexplored. Whether Gilded Age or Brown Decades, it seemed a desert of genteel circumlocution and derivative tastes, happily forgotten. It was a barren place languishing in the long shadows cast by several mighty peaks: Winslow Homer, Thomas Eakins, Albert Pinkham Ryder, James McNeill Whistler. Additional informationNotes on contributorsSarah BurnsSarah Burns is Assistant Professor of Art History in the School of Fine Arts, Indiana University, Bloomington. She has published numerous exhibition reviews and articles on nineteenth-century French, Belgian, and American painting." @default.
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- W4247470103 date "1984-01-01" @default.
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- W4247470103 title "The Quest for Unity: American Art between World's Fairs 1876-93" @default.
- W4247470103 doi "https://doi.org/10.2307/776678" @default.
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