Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.

Picturing the Nation presents a visual history of modern India and explores visual representations of India from the late nineteenth to the late twentieth centuries. The essays in this volume have illustrations, which have all been reproduced in full colour on art paper. The illustrated pages have also been placed within the chapters that refer to them. The images include chromolithographs, posters, cards and photographs of architecture and cultural displays. The book has a comprehensive introduction by Richard Davis and it attempts to answer the question how is it that so many persons have been persuaded to die willingly for something as recently imagined as the nation? Market: University and college departments of history, sociology, social anthropology, the visual arts, art history. The book is also accessible to a wider audience interested in the visual media and in the history of modern India. This is the second book out in the Indian market in this area and the earlier one is Beyond Appearances? edited by Sumathi Ramaswamy (Sage 2003), which is a single colour book.

A National Book Award winner mines photographic gold to show—and tell—the story of the Great Depression. In an exquisitely curated volume of 140 full-color and black-and-white photographs, Martin W. Sandler unpacks the United States Farm Security Administration’s sweeping visual record of the Great Depression. In 1935, with the nation bent under unprecedented unemployment and economic hardship, the FSA sent ten photographers, including Walker Evans, Dorothea Lange, and Gordon Parks, on the road trip of a lifetime. The images they logged revealed the daily lives of Southern sharecroppers, Dust Bowl farmers in the Midwest, Western migrant workers, and families scraping by in Northeast cities. Using their cameras as weapons against poverty and racism—and in service of hope, courage, and human dignity—these talented photographers created not only a collective work of art, but a national treasure. Grouped into four geographical regions and locked in focus by rich historical commentary, these images—many now iconic—are history at its most powerful and immediate. Extensive back matter includes photographer profiles and a bibliography.

This book features photographs taken for the Farm Security Administration by ten renowned photographers, featuring scenes from regions throughout the United States.

This fascinating look at artist Thomas Cole's life takes readers from his humble beginnings to his development of a new painting style that became America's first formal art movement: the Hudson River school of painting. Thomas Cole was always looking for something new to draw. Born in England during the Industrial Revolution, he was fascinated by tales of the American countryside, and was ecstatic to move there in 1818. The life of an artist was difficult at first, however Thomas kept his dream alive by drawing constantly and seeking out other artists. But everything changed for him when he was given a ticket for a boat trip up the Hudson River to see the wilderness of the Catskill Mountains. The haunting beauty of the landscape sparked his imagination and would inspire him for the rest of his life. The majestic paintings that followed struck a chord with the public and drew other artists to follow in his footsteps, in the first art movement born in America. His landscape paintings also started a conversation on how to protect the country's wild beauty. Hudson Talbott takes readers on a unique journey as he depicts the immigrant artist falling in love with--and fighting to preserve--his new country.

The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863-1930) was also the most widely viewed British-Australian artist of the Heidelberg era. Fullwood's illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler-colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today? In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art. 'Gary Werskey's compelling and vivid biography of A.H. Fullwood -- a decade-long labour of love, written with a sharp, empathetic eye - rescues one of Australia's most accomplished artists from oblivion. It also stands as a highly original and deeply researched history of Australian culture in the late nineteenth and early twentieth centuries.' -- Mark McKenna 'Through extensive, patient research, a discerning eye and lyrical prose, Gary Werskey recovers the life of brilliant artist A.H. Fullwood and guides us on a fresh journey into the fabled world of Australian art and artists in the crucible decades of the 1880s and 1890s. Here is a fascinating creation story about the visual language of a nation enchanted by its own dreams.' -- Grace Karskens 'Gary Werskey's essential and rousing portrait lifts Fullwood to his rightful place in the pantheon of Australian art, and reminds us how much the nation owes a generation of inspired bohemians for uncovering and defining its character and identity. It's a great read, and looks beautiful.' -- Don Watson 'Werskey has used the engaging life and work of A.H. Fullwood to re-cast the history of Australia's settler-colonial art. Set against the era's revolution in how art was produced and reproduced, Fullwood's pictures reveal him to be a master of half-toned illustrations, underpinned by the high-keyed palette of his creativity. A double vision splendid!' -- Humphrey McQueen 'An outstanding account of one of Australia's most fascinating Bohemian artists. Werskey not only reveals the very heart of Fullwood's art, but uncovers an Australian Georgic in which a prosperous agriculture emerges on small farms, and the life of the pub and the office and the quiet corners of the everyday in settler Australia are brilliantly evoked.' -- Jeanette Hoorn

In this book, Hertha D. Sweet Wong examines the intersection of writing and visual art in the autobiographical work of twentieth- and twenty-first-century American writers and artists who employ a mix of written and visual forms of self-narration. Combining approaches from autobiography studies and visual studies, Wong argues that, in grappling with the breakdown of stable definitions of identity and unmediated representation, these writers-artists experiment with hybrid autobiography in image and text to break free of inherited visual-verbal regimes and revise painful histories. These works provide an interart focus for examining the possibilities of self-representation and self-narration, the boundaries of life writing, and the relationship between image and text. Wong considers eight writers-artists, including comic-book author Art Spiegelman; Faith Ringgold, known for her story quilts; and celebrated Indigenous writer Leslie Marmon Silko. Wong shows how her subjects formulate webs of intersubjectivity shaped by historical trauma, geography, race, and gender as they envision new possibilities of selfhood and fresh modes of self-narration in word and image.