Gilded Age Portraits in America
by Barbara Dayer Gallati – Hardcover: 184 pages; GILES (Nov 5, 2013)
Named after a series of charity shows held by the New York social elite during the 1890s, Beauty's Legacy
examines the remarkable resurgence of portraiture in the United States at the end of the nineteenth century. It features over fifty paintings, including works by John Singer Sargent, William Bouguereau, and James Montgomery Flagg, and twenty-five miniature portraits of reigning social celebrities from Peter Marié's famous collection Gallery of Beauty
Portraits of the Presidents: The National Portrait Gallery
by Frederick S. Voss Hardcover: 136 pages; Rizzoli (Nov 2000)
The most visited gallery of the National Portrait Gallery is the Hall of Presidents, the collection of portraits of America's elected leaders. More than a visual record of holders of power, these images evoke the careers and legacies of the men they portray.
The Worlds of Jacob Eichholtz: Portrait Painter of the Early Republic
by Thomas R. Ryan Hardcover: 176 pages; Pennsylvania State University Press (Nov 1, 2003)
The Worlds of Jacob Eichholtz explores the life and times of an oft-overlooked figure in early American art. Jacob Eichholtz (17761842) began his career in the metal trades but with much practice, some encouragement from his friend Thomas Sully, and a few weeks instruction from Americas preeminent portraitist, Gilbert Stuart, he transformed himself into one of the nations most productive portrait painters
by Newport Art Museum Library Binding: 344 pages; University Press of New England; 1st edition (May 1, 2000)
In 1992, the Newport Art Museum assembled an exhibition of 223 portraits of Newporters painted over a period of three centuries. It presented not just a gallery of the Newport elite and some of its haute bourgeoisie, but also a showcase of the most famous portraitists and portrait styles throughout United States history. Artists represented in this collectionrange from the great colonial portraitists Gilbert Stuart, Robert Feke, and John Singleton Copley to such modern figures as Diego Rivera, Larry Rivers, and Andy Warhol.
American Characters: Selections from the National Portrait Gallery, Accompanied by Literary Portraits
by R. W. B. Lewis, Nancy Lewis, National Portrait Gallery Hardcover: 432 pages; Yale University Press (Sep 1999)
This delightful book brings together 160 famous American figures from Pocahontas to Louis Armstrong, providing both visual and verbal portraits to illuminate their places in American life. The portraiture-paintings, sculptures, photographs, cartoons-and the literary images-eyewitness accounts, memoirs, poems, letters, and biographies-are accompanied by lively and informative commentary by the editors.
John Singleton Copley in America
by Carrie Rebora, Paul Staiti Hardcover: 368 pages; Metropolitan Museum of Art (1995)
This ponderously impressive tome examines colonial painter Copley's American-produced oeuvre. The artist's life and work is covered until his relocation to London in 1774. Based on a large exhibition organized by New York City's Metropolitan Museum of Art and Boston's Museum of Fine Arts, this is the first monograph to appear on Copley since 1966.
John Singleton Copley
by James T. Flexner, Deal Hudson (Introduction), Mortimer J. Adler (Preface) Hardcover: 139 pages; Fordham University Press; 2nd edition (Jan 1, 1993)
A book for both the general reader of American history and the student of art, Flexner's study of Copley (1738-1815), brings into vivid detail the struggle the artist endured against an unfavorable environment in the New World, his rise to fame, the development of his unique style, and the personal growth of the man who rose to critical acclaim and then sank to obscurity.
The Invention of Painting in America
by David Rosand – Hardcover: 246 pages; Columbia University Press (Nov 10, 2004)
Struggling to create an identity distinct from the European tradition but lacking an established system of support, early painting in America received little cultural acceptance in its own country or abroad. Yet despite the initial indifference with which it was first met, American art flourished against the odds and founded the aesthetic consciousness that we equate with American art today.
High Society: American Portraits of the Gilded Age
by Barbara Dayer Gallati, Ortrud Westheider Hardcover: 214 pages; Bucerius Kunst Forum. Distributed by Merrell; 1st edition (Aug 1, 2008)
The period of rapid industrial expansion in America after the Civil War is known as the Gilded Age. The era saw the formation of great personal fortunes and the almost feverish amassing of goods and art to fill the palatial homes of the rich. The commissioning of portraits was one way for the new aristocracy to express their wealth and demonstrate their achievements, and the stunning works of art created during these years remain among the finest examples of portraiture.
Lavishly illustrated with 175 portraits and period photographs, High Society brings to life the colourful personalities of the major artists and patrons of the Gilded Age, and, through essays exploring such themes as women artists and new public perceptions of the artist, provides an entertaining introduction to a significant chapter in American art.
A Brush with History: Paintings from the National Portrait Gallery
by National Portrait Gallery Smithsonian Institution, Carolyn Kinder, Ellen G. Miles Paperback: 250 pages; University Press of New England (Jan 2001)
As the new nation began its journey through history, Charles Willson Peale reasoned that it would be valuable for a republic to have the likenesses of those who had played a prominent part in the struggle for independence.
Faces of Impressionism: Portraits from American Collections
by Sona Johnston, Susan Bollendorf, John House, Baltimore Museum of Art Hardcover: 168 pages; Rizzoli (Oct 1999)
This book accompanies the first major exhibition to focus exclusively on the portraits made by the Impressionist masters and their immediate predecessors. Breaking free from portraiture's conventions, the Impressionists expanded the notion of a portrait to reflect not only an individual's appearance but also his or her everyday surroundings.
From traditional, tightly rendered likenesses to light-filled, loosely brushed paintings, the works in this volume depict a variety of subjects: friends, family members, patrons, public figures, and the artists themselves. Reproduced are key works by fourteen pivotal figures including Gustave Caillebotte, Mary Cassatt, Paul Cézanne, Edgar Degas, Paul Gauguin, Édouard Manet, Claude Monet, Berthe Morisot, and Pierre-Auguste Renoir, which reveal the astonishing originality and beauty of the Impressionists' portraits.
The Genius of Gilbert Stuart
by Dorinda Evans Hardcover: 216 pages; Princeton University Press (Mar 1, 1999)
Gilbert Stuart was probably the most gifted American portraitist of the late-eighteenth and early-nineteenth centuries. He is best known for his "Athenaeum" portrait of George Washington, which is today a national icon. In this book, Dorinda Evans combines a wealth of original insights with revealing new documentation to present a long-needed, scholarly treatment of Stuart's life and influential work
Facing the New World: Jewish Portraits in Colonial and Federal America
by Richard Brilliant, Ellen Smith Hardcover: 111 pages; Prestel (Nov 1, 1997)Facing the New World
features important paintings by distinguished American artists such as Gilbert Stuart, Thomas Sully, Charles Willson Peale, John Wesley Jarvis, and Ralph Earl. There are portraits by unknown folk-artists and some comparative paintings of non-Jewish subjects, including a work by Joshua Johnson, an accomplished African-American painter active in the Baltimore area.
Gilbert Stuart: The Father Of American Portraiture (Library of American Art)
by Richard McLanathan Hardcover: 159 pages; Harry N Abrams (Sep 1, 1986)
To some, Gilbert Stuart is merely the artist whose portrait of George Washington stared from nearly every classroom in the country at one time. He was, of course, as this book beautifully displays, one of this country's finest artists. Beginning as a Colonial primitive, Stuart limited himself to portrait painting, and achieved international fame before his death in 1828.