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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 U.S. was the American craft movement, which began as a reaction to the Industrial Revolution.
The Art that Is Life: The Arts & Crafts Movement in America 1875-1920. New York: Little, Brown and Company. Kreisman, Lawrence, and Glenn Mason. The Arts & Craft Movement in the Pacific Northwest (Timber Press, 2007). Krugh, Michele. "Joy in labour: The politicization of craft from the arts and crafts movement to Etsy."
Art historian H. Harvard Arnason stated "a gradual metamorphosis took place in the course of a hundred years." [190] Events such as the Age of Enlightenment, revolutions and democracies in America and France, and the Industrial Revolution had far reaching affects in western culture. People, commodities, ideas, and information could travel ...
Industrial expansion and westward movement had largely severed American culture from early Colonial American and Native American craft roots. Against this backdrop, Louis Comfort Tiffany was a pioneer of the American craft movement, arguing for the placement of well-designed and crafted objects in the American home.
Charles Demuth, Aucassin and Nicolette, oil on canvas, 1921. Precisionism was a modernist art movement that emerged in the United States after World War I.Influenced by Cubism, Purism, and Futurism, Precisionist artists reduced subjects to their essential geometric shapes, eliminated detail, and often used planes of light to create a sense of crisp focus and suggest the sleekness and sheen of ...
Jul. 23—In an effort to show there is art outside of New York, LA and Chicago, the third season of the Amazon Prime Video series The Story of Art in America features Odessa and several other ...
America is facing a looming supplier pipeline challenge–but tackling it would have huge economic and social payoffs. America’s new industrial revolution is creating a procurement economy.
Thomas Braden, in charge of these cultural programs for the CIA, in the early years of the Cold War, had formerly been executive secretary of the Museum of Modern Art, America's leading institution for 20th century art and the charges of collusion between the two echoed for many years after this program was revealed, though most of the artists ...