Got Cow?: Cattle in American Art 1820-2000Hudson River Museum, 2006 - 49 Seiten |
Häufige Begriffe und Wortgruppen
Acrylic agrarian agricultural American Art Andy Warhol animal appear Arjomari paper Arthur artist associated Autumn beast become Bellows Benton bovine Bull Profile Series burden Calf catalogue cattle central cities Collection color contemporary continued contrast Courtesy Cow Wallpaper cow's created Curry dairy cow Danto depicted Despite developed Diana domesticated Edward Europa exhibition face Fargo farm figure Fish Foundation frequently Gallery George Gloria Houng Hart Head historical horse Hudson River Museum Hudson River school humans illustration innocent Ironically James John landscape late literally Looking Meadows milk Milton moves Museum of Art nature nineteenth century Norman Oil on canvas painter painting Pastoral photograph picture popular portrait possible presence Purchased question reflects represented Richard Rights Robert Rockwell's Salesman scene sculpture seen sense shows Study suggests symbol Thomas traditional Traveling turn University View viewer Visual Woman York young
Beliebte Passagen
Seite 18 - He that by the Plough would thrive, Himself must either hold or drive.
Seite 4 - The Andy Warhol Museum, Pittsburgh, Founding Collection; Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
Seite 16 - Annette Stott, Holland Mania: The Unknown Dutch Period in American Art and Culture (Woodstock, NY: Overlook Press, 1998), 56. 12. Ibid., 77. 13. Marc Simpson, "The 1880s,
Seite 3 - Once art had ended, you could be an abstractionist, a realist, an allegorist. . . . Everything was permitted, since nothing any longer was historically mandated. I call this the Post-Historical Period of Art, and there is no reason for it ever to come to an end. Art can be externally dictated to, in terms either of fashion or of politics, but internal dictation by the pulse of its own history is now a thing of the past.
Seite 42 - San Antonio Museum of Art, purchased with funds provided by the National Endowment for the Arts, Washington, DC, 81.153 New Shoes for HM, 1973, acrylic on canvas, 48 x 48 inches.
Seite 3 - Art was no longer possible in terms of a progressive historical narrative. The narrative had come to an end.
Seite 13 - a nai've country yokel mystified by the grotesque, flayed, headless seed repository before him. Puzzling with brushes in hand he is literally unable to make...
Seite 16 - The 1880s," in Thomas Eakins, ed. Darrel Sewell (Philadelphia: Philadelphia Museum of Art, 2001), 112. 14. Ronald G. Pisano, Painters of Peconic: Edith Prellwit2 and Henry Prellwit2 (New York: Spanierman Gallery, 2002), 12. 15. Virginia M. Mecklenburg, "Bellows Before Woodstcock," in Leaving for the Country: George Bellows at Woodstock by Marjorie B.
Seite 4 - Brillo Soap Pads Box, 1964 Silkscreen ink and house paint on plywood, 17 x 17 x 14 in.
Seite 6 - Hicks is recognizable as an individual, like each face in a group portrait by a minor Dutch master.1 Cow and Baby Calf(c.