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Gerdts, William H. - American Neo-classic Sculpture - The Marble Resurrection
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| Schrijver: | Gerdts, William H. |
| Titel: | American Neo-classic Sculpture - The Marble Resurrection |
| ISBN: | |
| Uitgever: | New York : The Viking Press, 1973 |
| Bijzonderheid: | Gebonden, linnen band met stofomslag, 1e druk, 160 pp. In goede staat |
| Prijs: |
€ 18,00
€ 6,00
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| Meer info | Stofomslag heet wat lichte schade. Voorplat wijkt een beetje, geurt licht muffig. In the 1830s, the first generation of notable American sculptors studied and lived in Italy, particularly in Florence and Rome, creating the Neoclassic style. At that time, Italy "provided the proper atmosphere, brought the sculptor close to the great monuments of antiquity, and provided museum collections that were available to study." They also gave the artists access to the carvers of Italy who translated their clay works into marble. During this period the themes from which the subjects of sculptural works were chosen tended to be drawn from antiquity, the exceptions being portraits (whose subjects were frequently shown wearing Roman or Greek garb) or works that included Native Americans. These artists included Horatio Greenough (1805–1852), Hiram Powers (1805–1873), Thomas Crawford (1814–1857), Thomas Ball (1819–1911) and his son-in-law William Couper (1853–1942), Harriet Hosmer (1830–1908), Chauncey Ives (1810–1894), Randolph Rogers (1825–1892) and (somewhat later) William Henry Rinehart (1825–1874). William Henry Gerdts Jr. (January 18, 1929 – April 14, 2020) was an American art historian and professor of Art History at the CUNY Graduate Center. Gerdts was the author of over twenty-five books on American art. An expert in American Impressionism, he was also well known for his work on nineteenth-century American still life painting. Gerdts' professional positions included 380 days as curator of art at the Norfolk Museum of Arts and Sciences (now the Chrysler Museum of Art) and resident director of the Moses Myers House in Norfolk. He was Curator of American Paintings and Sculpture at the Newark Museum (today the Newark Museum of Art) from 1954 to 1966, and associate professor and gallery director at the University of Maryland, College Park from 1966 to 1969. For about two years within 1969-71 he was vice president for research of the Coe Kerr Gallery, New York. In 1971 he joined the faculty of Brooklyn College, City University of New York as professor of art history, an appointment transferred to the Ph. D. Program in Art History, Graduate Center, CUNY, in 1985.[4] He became Professor Emeritus on his official retirement in 1999; he continued to teach at Hunter College, CUNY, for several more years. Gerdts was a visiting professor at Johns Hopkins University, Rutgers University, and Washington University in St. Louis. He received a Guggenheim Fellowship and a fellowship from the American Philosophical Society.[4] In 1992 he was awarded an Honorary Doctor of Humane Letters by Amherst College, and in 1996 Syracuse University made him an Honorary Doctor of Fine Arts. In 2008–9 Gerdts was Distinguished Lecturer and Senior Advisor for American Art at the Pennsylvania Academy of the Fine Arts. Complementing his career as an academic, he served on the Art Advisory Council of the International Foundation for Art Research (IFAR). His years of collecting began with nineteenth century American still life pictures while in Newark. Between 2001 and 2018 Gerdts and his wife of 43 years, Abigail Booth Gerdts, donated their professional library, and over 350 works of art to the National Gallery of Art, Washington DC. Following his retirement, Gerdts continued to represent a deeply conservative type of white male-dominated American art history, founded in connoisseurship, and became an outspoken opponent of newer approaches to the analysis of American art. Among the targets of his criticism were Frances Pohl's influential textbook, Framing America: A Social History of American Art (2002 and later) and John Davis, Jennifer Greenhill, and Jason LaFountain's benchmark anthology, A Companion to American Art (2015), with its diverse sampling of contemporary perspectives on American visual culture. (Wikipedia) |
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