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America after the Fall: Painting in the 1930s, by Judith A. Barter
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A unique look at America’s quest to carve out an artistic identity during the Depression era
Through 50 masterpieces of painting, this fascinating catalogue chronicles the turbulent economic, political, and aesthetic climate of the 1930s. This decade was a supremely creative period in the United States, as the nation’s artists, novelists, and critics struggled through the Great Depression seeking to define modern American art. In the process, many painters challenged and reworked the meanings and forms of modernism, reaching no simple consensus. This period was also marked by an astounding diversity of work as artists sought styles—ranging from abstraction to Regionalism to Surrealism—that allowed them to engage with issues such as populism, labor, social protest,�and to employ an urban and rural iconography including machines, factories, and farms.
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Seminal works by Edward Hopper, Grant Wood, Thomas Hart Benton, Georgia O’Keeffe, Aaron Douglas, Charles Sheeler, Stuart Davis, and others show such attempts to capture the American character. These groundbreaking paintings, highlighting the relationship between art and national experience, demonstrate how creativity, experimentation, and revolutionary vision flourished during a time of great uncertainty.
- Sales Rank: #176571 in Books
- Published on: 2016-07-19
- Original language: English
- Number of items: 1
- Dimensions: 12.20" h x .90" w x 9.80" l, .0 pounds
- Binding: Hardcover
- 204 pages
About the Author
Judith A. Barter is Field-McCormick Chair and Curator of American Art, Annelise K. Madsen is assistant curator of American art, and Sarah Kelly Oehler is Gilda and Henry Buchbinder Associate Curator of American Art, all at the Art Institute of Chicago. Sarah L. Burns is professor emerita at Indiana University. Teresa A. Carbone is program director for American art at the Henry Luce Foundation.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Let the pictures tell their tales, skip the dissertations
By joseph c maguire
This is a handsome folio, excellent illustration quality. However I found much of the editorials to be very ham handed and overbearing. But it has introduced me to a couple new artists, and revealed pieces by some of my favorite painters that I had never glimpsed before. A solid addition to my collection.
0 of 0 people found the following review helpful.
The idea of the exhibition and book is a fine one, but the essays aren't particularly good
By JC
The idea of the exhibition and book is a fine one, but the essays aren't particularly good. The authors may be knowledgeable in art history, but not so much in the history of Great Depression or American history in general. And they seemed to overlook obvious aspects of some of the painting -- that Grant Wood, for example, had a fine wry sense of humor, or that Thomas Hart Benton found as much bitterness in the countryside as he did its good qualities. Nor do the essayists seem to understand that all the painters here were greatly affected by Modernism, and that rather than being backward-looking, the Regionalists, for example, were simply looking in a different direction than the more conventional Modernists. Much of the rumination seems informed by contemporary political issues rather than the situation at the time. The selection of paintings is excellent, and the reproduction is quite good as well.
0 of 0 people found the following review helpful.
An Excellent Review with Insigntful Comments
By Ancient_Fossil
This is a gorgeous book by any standards. The reproductions are quite good and the authors have done a grand job illustrating a grand period of mid-century, American art. I highly recommend this work. I have waited years to see all these paintings together and I am very pleased. We had a wonderful time visiting this exhibition and were inspired by almost every work.
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