Framing America: A Social History of American Art: Volumes 1 and 2 (Fourth Edition) 1 and 2

An authoritative social history of American art, thoroughly revised to meet classroom needs Unique in its inclusive treatment, Framing America embraces the full scope of American art from the sixteenth century to the present. In addition to offering comprehensive coverage of the canon, Frances K. Pohl’s narrative goes beyond the traditional, and sometimes derogatory, treatment of certain populations in American society and addresses the domestic arts and the social and political contexts of art. The fourth edition is presented for the first time in two volumes. It will be sold as individual volumes as well as a packaged set containing both. The book is split in order to offer greater portability to students and to appeal to a greater number of courses. For example, instructors teaching a course on American art since 1900 or American art since 1945 can now assign the single, briefer volume that relates most directly to their course. New pedagogy also makes the book more accessible: artfully designed timelines open each part, situating important events in American history more accurately and while showing how they relate to art. Many images have increased in size and color throughout to help students identify small but important details in each work. Volume-1 (Framing America_A Social History of American Art) Cover Front Matter Title Page Copyright Contents Preface Map of North and Central America Part 1 Art and Conquest c. 200 BCE–1821 CE Chapter 1 Visualizing the Conquest: Colonial Spain and Indigenous Mesoamerica (c. 1500–1580) Tenochtitlan: Pyramids, Codices, and Monumental Sculpture Christian Painting, Sculpture, and Architecture in New Spain Chapter 2 Art and Architecture in the Northern Territories of New Spain (c. 900–1821) Early Explorations and Fortifications The Pueblo Cultures The Christianization of the Pueblos Church Architecture in the Pueblos Church Interiors and Adornments Texas and Arizona in the Seventeenth and Eighteenth Centuries Battle Scenes on Hide: Segesser I and II The Californian Missions Chapter 3 New France: Contact Zones and Cultural Production (c. 200 BCE–1760 CE) Material Exchange: The Impact of Trade on Indigenous Culture France Bringing the Faith: Religious Instruction and Cultural Exchange The Influence of Fashion: Painted Caribou-Skin Coats Monuments to Death: Hopewell and Mississippian Burial Mounds and Effigy Funeral Vessels Monuments to Life: Cahokia and the Grand Village of the Natchez Indigenous America in Europe: The Comte d’Artois’s Cabinet of Natural History Chapter 4 A Protestant Presence in America: The Arts of the British and Dutch Colonies (c. 1585–1772) Picturing the “New World”: John White and Theodore de Bry Early Settlements: Jamestown and Plymouth Art, Religion, and Politics in Seventeenth-Century New England Displays of Status: Portraiture in New England Displays of Status: Domestic Spaces in New England The Dutch Influence in Architecture and Portraits Aristocratic Pretensions in the South Learning Their Stitches and Keeping Warm: Colonial Needlework Doors to Eternal Peace: Carved Gravestones Foreign Wars and Domestic Unrest: Benjamin West’s The Death of General Wolfe and Penn’s Treaty with the Indians Part 2 Defining America c. 1765–1850 Chapter 5 Representing the American Revolution and Its Leaders (c. 1765–1810) Domestic Production and International Intrigue: The Portraits of John Singleton Copley John Trumbull’s Canvases of War The Aspirations of Women: Post-Revolutionary Samplers Money, Beauty, and Rank: Silver in the New Republic Presidential Poses: Paintings and Statues of George Washington Posthumous Portraits of Washington: The Mourning Picture From Painting to Print to Embroidery: The History of an Image Chapter 6 Symbols of a New Nation: Architecture and Indigenous Histories (c. 1785–1827) Home for a President: Thomas Jefferson’s Monticello Constructing a Capital: Washington, D.C. The Louisiana Purchase: New Orleans and Plantation Architecture An Architecture of Discipline: Shaker Communities An Architecture of Discipline: Prisons Nationhood and Native Americans: The Decoration of the Capitol Building From Indian Queen to Greek Goddess Narratives of Captivity Portraits and Treaties Chapter 7 The Schooling of the Nation’s Artists (c. 1820–1850) Improving the Taste of the Nation: Samuel F. B. Morse and the National Academy of Design The Entrepreneurial Spirit and the Production of American Culture: Rufus Porter and the “Valuable and Curious Arts” A Plain Likeness: Itinerant Portrait Painters Learning the “Sunbeam Art”: The Daguerreotype Part 3 Nature and Nation c. 1000–1863 Chapter 8 Nature and the Sacred (c. 1000–1863) Imagery of Creation and the Vision Quest The Box that Speaks: The Integration of Form, Content, and Material God’s Nature as God in Nature Landscape Tourism Images of Niagara Falls Thomas Cole, Federalism, and The Course of Empire Successors to Cole Edward Hicks and The Peaceable Kingdom Frederic Edwin Church: From the Pastoral to the Sublime Still and Troubled Waters: Luminist Landscapes Chapter 9 The Occupied Landscape (c. 1830–1863) “A City May Rise”: Albert Bierstadt’s The Rocky Mountains, Lander’s Peak Native American Borders: Emanuel Leutze’s Westward the Course of Empire “The Looks and Modes” of Native American Life: George Catlin and His “Indian Gallery” George Catlin and the Mandans Photographic Portraits: Another Take on the Real The Iconography of Progress: The City and the Train Human Actors in the Landscape: Genre Paintings of the Yeoman Farmer Human Actors in the Landscape: Genre Paintings of the Westerner Chapter 10 Domesticated Nature (c. 1818–1860) Woman as Nature: The Nude, the Mother, and the Cook The Fruits of Art: The Peale Family and Still-Life Painting Tricking the Eye: Raphaelle Peale and the Art of Deception Gender and the Art of Flower Painting Ornithological Paintings as “Nature Morte”: Alexander Wilson and John James Audubon Part 4 A Nation at War c. 1830–1900 Chapter 11 Images of Mexico and/as America: The Mexico-US War and Its Aftermath (c. 1848–1860) Learning from the Past: Emanuel Leutze’s The Storming of the Teocalli Life on the Home Front Life on the Front Lines Mexican Culture as American Culture: The Santeros of New Mexico The Local and the International: New Mexican Furniture and Textiles Chapter 12 A Nation Divided: Slavery and the Civil War (c. 1839–1865) Prelude to the Civil War: Representing African Americans and Slavery The Abolitionist Movement and the Challenging of Stereotypes Paintings of Fugitives, Contraband, and Soldiers Photographs of the War Chapter 13 Reconstruction and Shifting Images of African Americans (c. 1886–1900) Winslow Homer’s Prisoners from the Front and A Visit from the Old Mistress Thomas Nast’s “Grand Historical Paintings” The Freed Slave: Edmonia Lewis’s Forever Free and Thomas Ball’s Freedmen’s Memorial Seated Generals, Standing Soldiers: Military Memorials to the Civil War Chapter 14 The Indian Wars and the End of the Ghost Dance (c. 1869–1900) Native Americans in the Popular Press: Harper’s Weekly and the Washita River Massacre The Art of Incarceration: The Fort Marion Ledger Drawings The Battle of the Little Bighorn The End of the Ghost Dance The Hampton Institute and Lessons in American History Part 5 Art, Labor, and The Gilded Age c. 1865–1900 Chapter 15 The Art of Industrial Labor (c. 1871–1890) One Hundred Years of Independence: Taking Stock of America at the 1876 Philadelphia Centennial Exhibition Factory and Foundry: Winslow Homer and Thomas Anshutz Labor Unrest: Robert Koehler’s “Strike” and Monuments to Justice and Liberty Chapter 16 The Art of Professional and Domestic Labor (c. 1865–1889) Celebrating the New Male Professionals: Portraits by Thomas Eakins Middle-Class Masculinity, Mass Production, and Trompe l’oeil Painting Domestic Labor and Cultural Production Helpful Women: The Evolving Image of the Domestic Servant Spaces of Leisure and Labor: Domestic Architecture and Interior Design Spaces of Leisure and Labor: Parks and Streets Chapter 17 Gender, the Ideal, and the Real (c. 1871–1900) The Rise of Aestheticism American Impressionism and Consumer Culture: William Merritt Chase’s In the Studio American Impressionism and the Nostalgic Landscape: J. Alden Weir and John Twachtman American Impressionism and Portraiture Performing Identity in Photographic Portraits Chapter 18 Art and Architecture at the End of the Century (c. 1885–1900) Cultural Institutions and the Public Good: The Metropolitan Museum of Art The Chicago School of Architecture and the White City Women at the Fair: Allegories, Architects, and Artists Race and Religion at the Turn of the Century: Henry Ossawa Tanner Men at Sea: Albert Pinkham Ryder and Winslow Homer Bibliography Glossary Acknowledgments for Illustrations Index Volume-2 (Framing America_A Social History of American Art) Cover Front Matter Title Page Copyright Contents Part 5 Art, Labor, and The Gilded Age c. 1865–1900 Chapter 15 The Art of Industrial Labor (c. 1871–1890) One Hundred Years of Independence: Taking Stock of America at the 1876 Philadelphia Centennial Exhibition Factory and Foundry: Winslow Homer and Thomas Anshutz Labor Unrest: Robert Koehler’s “Strike” and Monuments to Justice and Liberty Chapter 16 The Art of Professional and Domestic Labor (c. 1865–1889) Celebrating the New Male Professionals: Portraits by Thomas Eakins Middle-Class Masculinity, Mass Production, and Trompe l’oeil Painting Domestic Labor and Cultural Production Helpful Women: The Evolving Image of the Domestic Servant Spaces of Leisure and Labor: Domestic Architecture and Interior Design Spaces of Leisure and Labor: Parks and Streets Chapter 17 Gender, the Ideal, and the Real (c. 1871–1900) The Rise of Aestheticism American Impressionism and Consumer Culture: William Merritt Chase’s In the Studio American Impressionism and the Nostalgic Landscape: J. Alden Weir and John Twachtman American Impressionism and Portraiture Performing Identity in Photographic Portraits Chapter 18 Art and Architecture at the End of the Century (c. 1885–1900) Cultural Institutions and the Public Good: The Metropolitan Museum of Art The Chicago School of Architecture and the White City Women at the Fair: Allegories, Architects, and Artists Race and Religion at the Turn of the Century: Henry Ossawa Tanner Men at Sea: Albert Pinkham Ryder and Winslow Homer Part 6 The Machine, the Primitive, and the Modern c. 1900–1930 Chapter 19 Modernism, Realism, and the Avant-Garde (c. 1900–1920) Painting New York City: Realism and the Ashcan School Socialism and Art: The Painting and Graphic Art of John Sloan Sculpting Everyday Life Alfred Stieglitz and 291 The Armory Show and the Paterson Strike Pageant Selling and Protesting War: World War I and The Masses Rethinking Reproduction: Marcel Duchamp Chapter 20 Modernism, Gender, and Sexuality (c. 1900–1930) The (Homo)Sexual Male Body Figuration, Abstraction, and the Female Body Gender, Fashion, and the Female Consumer Designing the Home: Women as Architects and Patrons Chapter 21 Modernism’s Racial Others (c. 1900–1930) Escape to Mexico The Search for the Exotic: American Artists in Mexico Art in the Service of Revolution: The Photographs of Tina Modotti The Santa Fe Railway and the Selling of the Southwest From Artifact to Souvenir to Work of Art: The Promotion of Hopi Pottery and Washoe Basketry The Harlem Renaissance and the “New Negro” Africa and America: The Imaging of African American Life Part 7 Art for the People, Art against Fascism c. 1930–1945 Chapter 22 A New Deal Vision of America (c. 1930–1943) Franklin D. Roosevelt’s Federal Art Programs A Prosperous America: Federally Sponsored Murals Documents of Despair and Renewal: Photography and the Farm Security Administration Modernist Architecture, Domestic Design, and Planned Communities Chapter 23 Alternative Visions: Urban Life and the Industrial Worker (c. 1930–1937) The Mexican Muralists in America The Coit Tower Murals and the Big Strike Painting Injustice: Philip Evergood, Ben Shahn, and Thomas Hart Benton Alternative Visions: The Ford Motor Company and Industrial America Rockefeller and the Limits of Corporate Patronage Fortune Magazine, Modernism, and Corporate America Chapter 24 Alternative Visions: Rural America and Women as Workers (c. 1928–1940) Hidden Labor: Women Workers in Spaces of Leisure Women, Sexuality, and the Office Drought and Foreclosure: The Other Side of New Deal Murals Jacob Lawrence and the Narratives of Slavery Lynching in Rural America Chapter 25 Art against War and Fascism (c. 1934–1945) The Popular Front and the American Artists’ Congress The War at Home: Japanese American Internment and American Patriotism Social Surrealism and Critiques of Fascism Style as Subject, Abstraction as Freedom Part 8 Art in a Postwar Era: From Abstraction to Political Protest c. 1946–1980 Chapter 26 Gestures of Liberation: Abstract Art as the New American Art (c. 1946–1956) The Blinding Light of the Blast: Representing Atomic Destruction Abstraction, Modernity, and the Cold War Abstract Expressionism’s Others: Race, Gender, and the Politics of Exclusion Chapter 27 Pastiche, Parody, and Pop (c. 1950–1964) The Blurring of Boundaries: Painting into Sculpture, Junk into Art Opting Out and Raging On: Art of the Beat Generation Passionate Obsessives: Sabato Rodia and James Hampton A Commitment to Social Justice: Milton Rogovin and Elizabeth Catlett Grandma, Artist, Entrepreneur: Anna Mary Robertson Moses Realigning High Art: Pop Art and the Consumer Revolution Chapter 28 The Minimal, the Conceptual, and the Modern (c. 1950–1976) The Hard Edge: Painting The Hard Edge: Sculpture The Hard Edge: Architecture The Soft Edge: Cultural and Commercial Spaces The Soft Edge: Sculpture Earth as Art The Framed Proposition Chapter 29 An Art of Protest: The 1960s and 1970s (c. 1960–1980) Disquieting Images: Civil Rights and Civil Wrongs Angry Art: Protesting the Vietnam War The Personal is Political: Feminist Art of the 1970s Stepping Out: Feminist Performance Art Performing Politics Public Art and the Public Interest Part 9 Postmodernism and the Age of the Anthropocene c. 1962–2016 Chapter 30 Postmodernism in Architecture and Art (c. 1962–2002) Is Less More? Re-evaluating Modernism in Architecture Paranoia and Postmodernist Architecture Postmodernism and Art Modernist Public Art in a Postmodernist Era: Richard Serra’s Tilted Arc and Maya Ying Lin’s Vietnam Veterans Memorial Art Stars Mass-Media Manipulations Video Art Chapter 31 Postmodernist Art, Activism, and Identity Politics (c. 1979–1998) Crossing Borders Art and AIDS Women’s Bodies and Public Spaces “Sexual Subversion”: Attacks on Public Funding for the Arts The End of the Cold War and the Triumph of Capitalism The Culture Wars: Art and the Politics of Identity Intersections of the Local and the Global in Identity Politics Museums at the End of the Twentieth Century 32 Envisioning the Twenty-First Century (c. 2000–2016) 9⁄11 and the War on Terror Altered States: The Dismembered and (Re)membered Body Reconceptualizing Borders: Alan Michelson’s Third Bank of the River The Connectivity of the Whole: Helen Mayer Harrison and Newton Harrison Architectural Responses to a Changing Environment: Workshop/apd and Jeanne Gang The River Knows: Edgar Heap of Birds Revitalizing a River and Tracing an Aqueduct Bibliography Glossary Acknowledgments for Illustrations Index Framing America Takes An Inclusive Approach To American Art. Along With Comprehensive Coverage Of The Canon, It Expands And Integrates Treatment Of Frequently Marginalized Groups, While Also Addressing Domestic Arts And A Range Of Political And Social Contexts. This Fully Revised Fourth Edition, Reorganized In Response To Readers' Suggestions, Includes Thirty-two Chapters Now Arranged Into Nine Parts, And Available In Two Separate Volumes; Part Openers Featuring Timelines And Introductions That Highlight How Major Events And Artistic Movements Relate Chronologically; Increased Coverage Of The Lives And Work Of Women, African Americans, And Native Americans; New Images--from A Sixteenth-century Print Of The Spanish Conquest Of The Americas And A Seventeenth-century Embroidered Altar Frontal From New France, To Nineteenth Century American Impressionist Landscape Paintings And Photographic Portraits Of San Francisco's Chinatown And Civil War Battlefields; New Review Questions At The End Of Each Chapter; Instructor Resources, Including A Fully Revised Test Bank, The Author's Notes On Using The Book, Links To Further Relevant Material, And Images For Instructors-- V. 1. C. 200 Bce-1900. Part 1: Art And Conquest C. 200 Bce-1821 Ce. 1. Visualizing The Conquest : Colonial Spain And Indigenous Mesoamerica (c. 1500-1580) ; 2. Art And Architecture In The Northern Territories Of New Spain (c. 900-1821) ; 3. New France : Contact Zones And Cultural Production (c. 200 Bce-1760 Ce) ; 4. A Protestant Presence In America : The Arts Of The British And Dutch Colonies (c. 1585-1772) -- Part 2: Defining America C. 1765-1850. 5. Representing The American Revolution And Its Leaders (c. 1765-1810) ; 6. Symbols Of A New Nation : Architecture And Indigenous Histories (c. 1785-1827) ; 7. The Schooling Of The Nation's Artists (c. 1820-1850) -- Part 3: Nature And Nation C. 1000-1863. 8. Nature And The Sacred (c. 1000-1863) ; 9. The Occupied Landscape (c. 1830-1863) ; 10. Domesticated Nature (c. 1818-1860) -- Part 4: A Nation At War C. 1830-1900. 11. Images Of Mexico And/as America : The Mexico-us War And Its Aftermath (c. 1848-1860) ; 12. A Nation Divided : Slavery And The Civil War (c. 1839-1865) ; 13. Reconstruction And Shifting Images Of African Americans (c. 1886-1900) ; 14. The Indian Wars And The End Of The Ghost Dance (c. 1869-1900) -- Part 5: Art, Labor, And The Gilded Age C. 1865-1900. 15. The Art Of Industrial Labor (c. 1871-1890) ; 16. The Art Of Professional And Domestic Labor (c. 1865-1889) ; 17. Gender, The Ideal, And The Real (c. 1871-1900) ; 18. Art And Architecture At The End Of The Century (c. 1885-1900) -- Glossary -- V. 2. C. 1865-present. Part 5: Art, Labor, And The Gilded Age C. 1865-1900. 15. The Art Of Industrial Labor (c. 1871-1890) ; 16. The Art Of Professional And Domestic Labor (c. 1865-1889) ; 17. Gender, The Ideal, And The Real (c. 1871-1900) ; 18. Art And Architecture At The End Of The Century (c. 1885-1900) -- Part 6: The Machine, The Primitive, And The Modern C. 1900-1930. 19. Modernism, Realism, And The Avant-garde (c. 1900-1920) ; 20. Modernism, Gender, And Sexuality (c. 1900-1930) ; 21. Modernism's Racial Others (c. 1900-1930) -- Part 7: Art For The People, Art Against Fascism C. 1930-1945. 22. A New Deal Vision Of America (c. 1930-1943) ; 23. Alternative Visions : Urban Life And The Industrial Worker (c. 1930-1937) ; 24. Alternative Visions : Rural America And Women As Workers (c. 1928-1940) ; 24. Art Against War And Fascism (c. 1934-1945) -- Part 8: Art In A Postwar Europe : From Abstraction To Political Protest. 26. Gestures Of Liberation : Abstract Art As The New American Art (c. 1946-1956) ; 27. Pastiche, Parody, And Pop (c. 1950-1964) ; 28. The Minimal, The Conceptual, And The Modern (c. 1950-1976) ; 29. An Art Of Protest : The 1960s And 1970s (c. 1960-1980) -- Part 9: Postmodernism And The Age Of The Anthropocene C. 1962-2016. 30. Postmodernism In Architecture And Art (c. 1962-2002) ; 31. Postmodernist Art, Activism, And Identity Politics (c. 1979-1998) ; 32. Envisioning The Twenty-first Century (c. 2000-2016) -- Glossary. Frances K. Pohl. First Published In 2002. Includes Bibliographical References And Indexes. An authoritative social history of American art, thoroughly revised to meet classroom needs Unique in its inclusive treatment, Framing America embraces the full scope of American art from the sixteenth century to the present. In addition to offering comprehensive coverage of the canon, Frances K. Pohls narrative goes beyond the traditional, and sometimes derogatory, treatment of certain populations in American society and addresses the domestic arts and the social and political contexts of art. The fourth edition is presented for the first time in two volumes. It will be sold as individual volumes as well as a packaged set containing both. The book is split in order to offer greater portability to students and to appeal to a greater number of courses. For example, instructors teaching a course on American art since 1900 or American art since 1945 can now assign the single, briefer volume that relates most directly to their course. New pedagogy also makes the book more artfully designed timelines open each part, situating important events in American history more accurately and while showing how they relate to art. Many images have increased in size and color throughout to help students identify small but important details in each work. 716, 404 in color