Painting and visual traditions from around the world:
Art History: a Very Short Introduction by
This clear and concise new introduction examines all the major debates and issues using a wide range of well-known examples. It discusses the challenge of using verbal and written language to analyse a visual form. Dana Arnold also examines the many different ways of writing about art, and thechanging boundaries of the subject of art history. Topics covered include the canon of Art History, the role of the gallery, 'blockbuster' exhibitions, the emergence of social histories of art (Feminist Art History or Queer Art History, for example), the impact of photography, and the development ofArt History using artefacts such as the altarpiece, the portrait, or pornography, to explore social and cultural issues such as consumption, taste, religion, and politics.Importantly, this book explains how the traditional emphasis on periods and styles originates in western art production and can obscure other critical approaches, as well as art from non western cultures.
Art in World History by
A guide to the establishment of the library which covers materials acquisition, the organization and usage of the library's collection to provide a variety of services and the use of automation. This book aims to instruct the librarian on managing the small library effectively.
Women Painters of the World by
Women painters in Italy since the fifteenth century / Walter Shaw Sparrow -- Early British women painters / the Editor -- Modern British women painters / Ralph Peacock -- Women painters in the United States of America / the Editor -- Of women painters in France / Leonce Benedite -- Women painters in Belgium and in Holland / N. Jany -- Women painters in Germany and Austria, in Russia, Switzerland, and Spain / Wilhelm Scholermann -- Some Finnish women painters / Helena Westermarck.
African art describes modern and historical paintings, sculptures, textile art, metal work, installations and other visual culture from indigenous Africans and the African continent.
Geographical areas: West Africa (Ghana, Nigeria, Mali, Burkina Faso, Ivory Coast); East Africa (Kenya, Ethiopia, Tanzania); Central Africa (Congo, Chad, Gabon); Southern Africa (Botswana, Zimbabwe, South Africa); North Africa (Egypt, Nubia and Sudan).
Traditional cultural groups: Igbo; Yoruba; Benin; Kuba; Luba; Djenne-Djenno, Bambara, Dogon, Sao, Mapungubwe, Ndebele
Thematic elements: Expressive individualism (Western African art, ex. Dan artistry); emphasis on the human figure (seen throughout the continent, greatly influenced European art traditions); visual abstraction (as opposed to realism).
Selected African painters: William Kentridge (South Africa), Cheri Samba (Democratic Republic of Congo), Peju Alatise (Nigeria), Aboudia Abdoulaye Diarrassouba (Ivory Coast), Lionel Smit (South Africa), Ransome Stanley (Nigerian), Kudzanai Chiurai (Zimbabwe), Julie Mehretu (Ethiopia), Ibrahim El Salahi (Sudan),
Ndebele : the art of an African tribe by
Umuzi -- Painting, beadwork, and ceremonies -- Gateways -- Motifs -- Gables -- Windows -- Interiors.
African Canvas by
Documents folk architecture and wall paintings in Nigeria, Ghana, Ivory Coast, Senegal, Mauritania, and Mali.
Asian art covers a vast range of cultures, religions, and regions of the Asian content comprised of Central, East, South, Southeast, and West Asia. Many of these cultures mixes through the silk road transmission of art, cultural exchange through trade, colonization, and globalization.
Geographical areas: Central Asia (Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, Uzbekistan); East Asia (China, Japan, Korea, Mongolia, Taiwan); South East Asia (Thailand, Cambodia, Philippines, Laos, Malaysia, Vietnam, Indonesia, Singapore, Eaast Timor, Brunei, Myanmar); South Asia (India, Pakistan, Bangladesh, Bhutan, Maldives, Nepal, Sri Lanka); West Asia (Iran, Turkey, Iraq, Saudi Arabia, Yem
Selected Periods and Styles:
Selected artists: An Gyeon (Korea,15th century); Hwang Jipjung (Korea, 14th century); Kwon Young-woo (Korea, 1960s); Suh Youngsun (Korea); Ma Yuan (China,) Xia Gui (China), Li Tiefu (China); Yan Wenliang (China); Nam June Paik (Korea)
Selected search terms: Silk Road transmission of art; Central Asian Nomad folk art; Tibetan art (mandala, monastery paintings); Buddhist art; Islamic art; Hindu art; Daoist paintings, Confucian paintings; Jain art
Wonder of the Age by
This vividly illustrated publication features 110 works by many of the most eminent painters in the history of Indian art. These remarkable paintings, dating from 1100 to 1900, were selected according to identifiable artists, and they refute the long-held view of anonymous authorship in Indian art. Traditionally, Indian paintings have been classified by regional styles or dynastic periods, with an emphasis on subject matter. Stressing the combined tools of connoisseurship and inscriptional evidence, the pioneering research reflected in this book has identified individual artists and their oeuvres through the analysis of style. The introductory essay outlines the origins of early Indian painting of the first millennium, which set the scene for the development of the art of the book. The sections that follow examine manuscript painting as it evolved from palm-leaf to paper, the emergence of traditional painting as an independent art form, and its demise with the coming of photography. Biographies of the artists whose works appear in this volume and a glossary of their major literary sources provide valuable context.]]>
Chinese Painting in Four Seasons by
This unique work offers a superb introduction to the understanding and appreciation of the art of Chinese painting. Here, in a series of illustrated step-by-step exercises, every element is covered in a systematic and uncomplicated way so that you can create your own distinctive works--Cover.
Court Paintings from the Joseon Dynasty by
Both ornate and majestic, the various formats of royal court paintings of Korea have been exhibited all over the world and include folding screens, murals, paper sliding doors, and government records. Crafted by the best painters of the era, the works exhibit a refined level of artistic skill and are rich with symbolism, even in the tiniest details, having adorned spaces that were occupied by the highest authorities. The vivid colors and fastidious minutiae of Joseon court paintings, with their intriguing iconography and ornamentation, are sure to introduce any viewer to a startling new world.
Images of Power by
Between 1936 and 1938 Gregory Bateson and Margaret Mead collected more than 1,200 paintings and sketches made by Balinese peasants.
Indian Art by
The grave, sensuous, and infinitely varied arts of India have long been admired in the West. This engaging book tells the story clearly and vividly from the first, still mysterious, beginnings in the Indus valley, through the great masterpieces of Buddhist and Hindu art to the coming of Islam, the eclectic culture of the Mughal court, and the golden age of miniature painting. Much of Indian art is immediately accessible to the outsider, but much is also enigmatic, needing interpretation and guidance before it can be enjoyed in depth: the strange pantheon of the Hindu gods, the subtle insights of Buddhist mysticism, or the complex symbolism of the miniatures. For this edition, the late Professor Craven thoroughly revised the text and incorporated works by contemporary artists, linking their achievements to the traditions of Indian art. A new glossary and time line are also included.
Australian art describes modern and historical paintings, sculptures, textile art, metal work, installations and other visual culture from indigenous Australians and the Australian continent.
Major Australian art movements: Indigenous Australia (time immemorial - present); British colonization (1788-1850); Gold rush and expansion (1851-1885); Australian impressionists (1885-1990); Federation era (1901-1914); Modern art (1920-present)
Selected search terms: Sydney rock engravings
Selected artists: William Barak (1824-1903, indigenous artist); Albert Namatjira (1902-1959, indigenous artist); George Stubbs (1724-1806, early European depiction); Port Jackson Painter (1788-1790, unknown watercolor artist); John Lewin (natural history art); John Glover (landscape artist); Conrad Martens (1801-1878, landscapes)
Australian Painting by
This is the fourth edition of the classic text first published in 1962. It discusses the achievements of all Australia's leading artists and a great many lesser-known ones. It is written for those seeking a comprehensive introduction to the subject and will be valuable to students, teachers, and the general reader. All facets of Australian painting are generously illustrated.
Contemporary Aboriginal Art by
"This book is illustrated with examples of much of the finest Aboriginal art of the recent past, exploring Australia's contrasting landscapes and the historic circumstances of the growth of this vibrant art movement." "Art writer Susan McCulloch has travelled extensively to the major art-producing centres of Arnhem Land, the Central Desert and the Kimberley, interviewing artists, art coordinators, dealers, collectors and curators. She places in an historical and cultural perspective the art of some twenty land-based regions, as well as outlining developments in urban areas and giving biographies of major artists. There is also practical information on how the art is made and sold, where best to see and buy it, and listings of major commercial and public galleries." "Contemporary Aboriginal Art: A Guide to the Rebirth of Traditional Art is an essential guide for those interested in this exciting revival of one of the world's most ancient artistic traditions."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Native American art (before Euro-American colonization) were items used in religious ceremonies or used for daily or ritual practice. Predominant Native American aesthetic forms include painting, drawing, sculpture, textiles, quill and bead embroidery, basketry, and ceramics. Themes covered in this work
Selected Indigenous Art Terms: Major regions (Great Lakes, Eastern United States, Plains, Southwest, Pacific Northwest, Arctic); Name of Tribe/Nation and medium of art, example Pueblo pottery, Mi'kmaq quillwork, Kwakwaka'wakw carving, Lakota beadwork.
Selected Indigenous Artists: Jacquie Stevens, Stan Natchez, Joseph Yoakum, Mildred Cleghorn
Themes: Collective vs. individual; Function of art; religious and secular use
Western American Art Movements: Hudson River School (1826-1870); Luminism (1850-75); Tonalism (1870-1915); American Impressionism (1880-1920); Ashcan School (1900-1915); Synchromism (1912-1924); Harlem Renaissance (1920-1940); Fourteenth Street School (1920-1940); American Regionalism (1928-1943); Social Realism (1929-1950); Abstract Expressionism/Color Field Painting/Post-Painterly/Hard Edge Abstraction (1943-1965); Neo-Dada (1952-1970); Pop art and Photo Realism (1950-1970); Minimalism (1960-present); Earth Art and Environmental Art (1960-present); Postmodernism (1960-present)
Selected Western Painters: Thomas Cole (Hudson River School); Grant Wood; John Sloan; Edward Hopper; Norman Rockwell; Andrew Wyeth; Jacob Lawrence; Jackson Pollock; Mark Rothko; Willem de Kooning; Jasper Johns, Robert Rauschenberg; Andy Warhol; Roy Lichtenstein; Claes Oldenburg; James Rosenquist; Ed Ruscha; Chuck Close; Donald Judd; Carl Andre; Sol LeWitt; Robert Morris; Frank Stella; Richard Serra; Louise Bourgeois; Eva Hesse; Bruce Nauman; Vito Acconci; James Turrell; Barbara Kruger; Robert Smithson; Andy Goldsworthy; Jeff Koons; Judy Chicago;
Other search terms: American folk art (associated terms Edward Hicks)
Song from the Earth by
Takes you into the work of twentieth century Indian painters, who have sought through their art both individual expression and a rediscovery of what it means to be Indian.
Shapeshifting: transformations in Native American art by
Public perception of Native American art and culture has often been derived from misunderstandings and misinterpretations, and from images promulgated by popular culture. Typically, Native Americans are grouped as a whole and their art and culture considered part of the past rather than widely present. Shapeshifting challenges these assumptions by focusing on the objects as art rather than cultural or anthropological artifacts and on the multivalent creativity of Native American artists. The approach highlights the inventive contemporaneity that existed in all periods and continues today. More than 75 works in a wide range of media and scale are organized into four thematic groups: changing--expanding the imagination; knowing--expressing worldview; locating--exploring identity and place; and voicing--engaging the individual. The result is a paradigm shift in understanding Native American art.
Northwest Coast Indian Art by
The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book. The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world's artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories. In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published Northwest Coast Indian Art: An Analysis of Form. This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists? styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration. The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field. Replaces ISBN 9780295951027
Native North American Art by
This lively introductory survey of indigenous North American arts from ancient times to the present explores both the shared themes and imagery found across the continent and the distinctive traditions of each region. Focusing on the richness of artwork created in the US and Canada, NativeNorth American Art, Second Edition, discusses 3,000 years of architecture, wood and rock carvings, basketry, dance masks, clothing and more.The expanded text discusses twentieth- and twenty-first-century arts in all media including works by James Luna, Kent Monkman, Nadia Myre, Jaune Quick-to-See Smith, Will Wilson, and many more. Authors Berlo and Phillips incorporate new research and scholarship, examining such issues as art andethics, gender, representation, and the colonial encounter. By bringing into one conversation the seemingly separate realms of the sacred and the secular, the political and the domestic, and the ceremonial and the commercial, Native North American Art shows how visual arts not only maintain theintegrity of spiritual and social systems within Native North American societies, but have long been part of a cross-cultural experience as well.
Black Futures by
What does it mean to be black and alive right now? "A literary experience unlike any I've had in recent memory . . . a blueprint for this moment and the next, for where Black folks have been and where they might be going."-The New York Times Book Review(Editors' Choice) What does it mean to be Black and alive right now? Kimberly Drew and Jenna Wortham have brought together this collection of work-images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more-to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing rhythm- Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics. In answering the question of what it means to be Black and alive, Black Futures opens a prismatic vision of possibility for every reader.
Hearts of Our People : Native women artists by
Hearts of Our People: Native Women Artists explores the artistic achievements of Native women and establishes their rightful place in the art world. This landmark book includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases artists from more than seventy-five Indigenous tribes to reveal the ingenuity and innovation that have always been foundational to the art of Native women. Women have long been the creative force behind Native art. Hearts of Our People accompanies the first major exhibition of artwork by Native women, presented in close cooperation with top Native women artists and scholars, honoring the achievements of over 115 artists from the United States and Canada spanning over 1,000 years. Their triumphs?from pottery, textiles, and painting, to photographic portraits, to a gleaming El Camino?show astonishing innovation and technical mastery. Beautifully illustrated and enriched by the personal reflections, historical research, and artistic insights of leading scholars and artists in the field, Hearts of Our People: Native Women Artists pays tribute to the vital role and creative force of Native women artists, now and throughout time.
Outliers and American Vanguard Art by
Since the last century, the relationship between vanguard and self-taught artists has been defined by contradiction. The established art world has been quick to make clear distinctions between trained and untrained artists, yet at the same time it has been fascinated by outliers whom it draws selectively and intermittently into its orbits. For a new exhibition launching at the National Gallery of Art, curator Lynne Cooke explores shifting conceptualizations of the American outlier across the twentieth century, drawing on the inherent sociality of the exhibition in her installation of these works. This companion catalog, Outliers and American Vanguard Art, offers a fantastic opportunity to consider works by schooled and self-taught creators in relation to each other and defined by historical circumstance. The art works in Outliers and American Vanguard Art come from three distinct periods when the intersections between mainstream and outlier artists were most dynamic and productive, ushering in exhibitions of art based on various degrees of co-existence, inclusion, and assimilation. Works by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican are set in conversation with a range of works by such self-taught artists as Horace Pippin, Janet Sobel, and Henry Darger. Cooke also examines a recent increase of radically expressive work that challenges what it means to be an outlier today. She reveals how these distinctions have been freighted with a particularly American point of view as she investigates our assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. Outliers and American Vanguard Art is the most comprehensive show ever to examine outliers in dialogue with their established peers. It is sure to inspire vigorous conversation about how artists and the work they make are represented.
The United States of America by 
American Art by
A cultural history of American art from early Colonial times through the late twentieth-century, tracing the development of painting, sculpture, architecture, photography, and the decorative arts, and featuring 752 black-and-white and color illustrations.
Contents
1: The Colonial period -- Early colonial architecture -- Early colonial painting and sculpture -- Eighteenth-century colonial architecture -- Eighteenth-century colonial painting and sculpture -- 2: The early republic -- Neoclassic architecture -- Painting: icons for a new nation -- Emergence of an American sculpture -- 3: The Jacksonian era -- Architecture: eclecticism at mid-century -- Painting for the public -- Images in marble and bronze -- 4: Civil War to 1900 Reconstruction and expansion -- Architecture: the battle of styles -- Painting: the gilded age -- Sculpture: mostly monumental -- Photography: the birth of a new art -- 5: Turn of the century to World War I -- Pioneers of modern architecture -- Painting: the opening skirmishes -- Photography: document or art medium? -- 6: Between world wars -- Architecture, American style, 1920-45 -- Painting: advances and retreats -- Photography: developments of the depression -- 7: The postwar decades: painting steals the show -- Postwar architecture, 1945-60 -- Abstract expressionism: the heroic generation -- Sculpture in transition: 1900 to the present -- Photography since World War II -- 8: The arts since 1960 -- Contemporary architecture and planning since 1960 -- Painting since 1960: from pop art to minimalism -- The dematerialized object.
A People's Art History of the United States by
A People's Art History of the United States starts at the bottom and places art and the history thereof squarely in the rough-and-tumble of politics, social struggles and the fight for justice from the colonial era through the present day. In this politically-charged narrative, author and radical artist Nicolas Lampert combines historical commentary with detailed examinations of individual artists and their works. The book spans the conquest of the Americas, the American Revolution, slavery and abolition, women's suffrage and feminism, civil rights and much more.
Latin American art is loosely defined as artistic traditions that developed out of the Caribbean, Central, Meso, and South America after colonization by the Spanish and Portuguese beginning in 1492 continuing to the present. This art draws heavily from both indigenous cultures of the Americas and European culture, resulting in a unique blended tradition of visual art.
Indigenous art began before colonization, collectively known as Pre-Columbian art, featured religious and spiritual concerns.
Pre-Columbian art terms: Indigenous empires (Inca, Aztec, Maya, Olmec, Mixtex, Nahua, Toltec, Zapotec, Chimu, Quitu, Moche Nazca, Lima, Cotocollao, etc); quipu, Olmec jade figurines and heads; Chichen Itza (Maya); codecies (e.g. Codex Borgia, ; Nazca lines; Moche ware (portrait vases); Machu Picchu;
Latin American Art Movements: Colonial period (1492-1820); Nation building 1820-1900; Costumbristas; Modernismo (1890-1920)
Themes and Motifs: Religious and spiritual themes heavily dominate often interwoven with indigenous styles.
Selected Latin American Artists: Fray Bernardino de Sahagun; Diego Rivera (Mexico); Frida Kahlo (Mexico), Joaquin Torres-Garcia (Uruguay); Amelia Pelaez (Cuba); Tarila do Amaral (Brazil); Jose Guadalupe Posada (Mexico); Jose Clemente Orozco (Mexico); Roberto Matta (Chile); Wifredo Lam (Cuba); Rufino Tamayo (indigenous Zapotec); Siqueiros; Fernando de Szyszlo (Peru); Manabu Mabe (Brazil); Alejandro Obergon (Colombia); Gunther Gerzso (Mexico); Jesus Rafael Soto (Venezuela); Alejandro Otero (Venezuela); Nemesio Antunez (Chile); Eduardo Ramirez Villamizar (Colombia); Edgar Negret (Colombia); Eduardo MacEntyre (Argentina); Jose Luis Cuevas (Mexico); Fernando Botero (Colombia); Antonion Berni (Argentina); Armando Morales (Nicaragua); Oswaldo Viteri (Ecuador);
Selected : Codex Mendoza (1541);
Mexican Painting by
Mexican painting did not come to be internationally recognised until the early 20th century. It was the muralist movement, starting in the 1920s and strongly connected to the Mexican Revolution of the previous decade, from which such great artists as José Clemente Orozco (1883-1949), David Alfaro Siqueiros (1896-1974), and Diego Rivera (1886-1957) emerged. Rarely has art been more political. Thus, what Mexican muralists of the time put up on the walls of the most diverse buildings also tells the story of this ever so restless nation.
Pre-Columbian Art and the Post-Columbian World by
While much attention has been given to the connection between modern art and primitive African forms, the impact of ancient American sources on the work of modern artists has been left largely unexplored. For example, Henry Moore's Reclining Figure, in a dozen variations, adorns museum galleries, corporate headquarters, and public malls around the world, yet how many people are aware that its acknowledged source is the Toltec-Maya chacmool, a Mesoamerican temple guardian and repository of sacrificial offerings? Or that Frank Lloyd Wright, America's premier modern architect, learned as much about structural design and ornamentation from a close study of Maya temples and Mixtec palaces as he did from Japanese structures?
Author Barbara Braun explores these connections and more in this fascinating, in-depth study of five seminal modern artists and the Pre-Columbian forms that provided inspiration for their work. In addition to the Moore and Wright comparisons, Braun examines the ceramics of Paul Gauguin and their debt to ancient Peruvian plastic and pictorial formulas; the revolutionary murals of Diego Rivera and their ideological and visual relation to Aztec imagery; as well as the Constructivist paintings of Joaquin Torres-Garcia and their connection to ancient Peruvian textiles, ceramics, and architecture.
Braun begins her discussion with a summary of the introduction and reception of Pre-Columbian images and artifacts in Europe and the United States from the sixteenth century forward, and she closes with a look at how the work of more recent artists, such as Color Field painter Alfred Jensen, Minimalist sculptor Tony Smith, earth artist Robert Smithson, and ceramists Kenneth Price and David Gilhooly, continues to be indebted to ancient American forms and ideas. Visual confirmation of these connections is given in more than 300 striking illustrations, 97 of them in color. An illustrated time chart and historical map provide the reader with easy reference points for the various ancient cultures of Mesoamerica and South America covered in the text. A bibliography and an index round out this thoughtful, intriguing volume.
Contents
Pre-Columbian art in the post-Columbian world -- Paul Gauguin: searching for ancestors -- Henry Moore: the chacmool in the garden -- Frank Lloyd Wright: a vision of Maya temples -- Diego Rivera: heritage and politics -- Joaquin Torres-Garcia: the alchemical grid -- Pre-Columbian art and modernism: the shifting ground.
Oceanic art encompasses the visual arts of the Pacific. Historically, objects were created for religious, ceremonial, ancestral, and practical use. Modern art in this region encompasses paintings, photography, sculpture, and more.
Geographic areas: Melanesia (Fiji, Vanuatu, Solomon Islands, Papua New Guinea); Micronesia (Federated States of Micronesia, Guam, Kiribati, Marshall Islands, Nauru, Northern Mariana Islands, Palau); Polynesia (Cook Islands, Easter Island, Hawai'i, New Zealand, Niue, Norfolk Island, Pitcairn Islands, Rotuma, Samoa, Tahiti, Tokelau, Tonga, Tuvalu, Wallis and Futuna)
Themes and motifs: Honoring ancestors and genealogy; religious iconography
Arts and crafts of Hawaii by
1. Food -- 2. Houses -- 3. Plaiting -- 4. Twined baskets -- 5. Clothing -- 6. Canoes -- 7. Fishing -- 8. Games and recreation -- 9. Musical instruments -- 10. War and weapons -- 11. Religion -- 12. Ornaments and personal adornment -- 13. Death and burial -- 14. Index.
The Arts of Kingship: Hawaiian Art and National Culture of the Kalakaua Era by
The Arts of Kingship offers a sustained and detailed account of Hawaiian public art and architecture during the reign of David Kalakaua, the nativist and cosmopolitan ruler of the Hawaiian Kingdom from 1874 to 1891. Stacy Kamehiro provides visual and historical analysis of Kalakaua's coronation and regalia, the King Kamehameha Statue, 'Iolani Palace, and the Hawaiian National Museum, drawing them together in a common historical, political, and cultural frame. Each articulated Hawaiian national identities and navigated the turbulence of colonialism in distinctive ways and has endured as a key cultural symbol. These cultural projects were part of the monarchy's concerted effort to promote a national culture in the face of colonial pressures, internal political divisions, and declining social conditions for Native Hawaiians, which, in combination, posed serious threats to the survival of the nation. The Kalakaua leadership endorsed images that boosted international relations and appeased foreign agitators in the kingdom while addressing indigenous political cleavages. Kamehiro interprets the images, spaces, and institutions as articulations of the complex cultural entanglements and creative engagement with international communities that occur with prolonged colonial contact. Nineteenth-century Hawaiian sovereigns celebrated Native tradition, history, and modernity by intertwining indigenous conceptions of superior chiefly leadership with the apparati and symbols of Asian, American, and European rule. The resulting symbolic forms speak to cultural intersections and historical processes, claims about distinctiveness and commonality, and the power of objects, institutions, and public display to create meaning and enable action. The Arts of Kingship pursues questions regarding the nature of cultural exchange, how precolonial visual culture engaged and shaped colonial contexts, and how colonial art informs postcolonial visualities and identities. It will be welcomed by readers with a general and scholarly interest in Hawaiian history and art. As it contributes to discussions about colonial cultures, nationalism, and globalization, this interdisciplinary work will appeal to art and architectural historians as well as those studying Pacific history, cultural and museum studies, and anthropology.
Oceania : art of the Pacific Islands in the Metropolitan Museum of Art by
"The Metropolitan Museum of Art houses one of the world's premier collections of Oceanic art. Published in celebration of the opening of the Metropolitan's newly reinstalled galleries for the arts of Oceania, this generously illustrated volume provides an introduction to the region's rich artistic heritage through more than two hundred master-works from the Museum's collection. An overview of Oceanic art and a history of the Metropolitan's collection are followed by informative introductory essays on the major cultural regions of the Pacific."--Jacket.
Contents
New Guinea -- Australia -- Island Melanesia -- Island Southeast Asia -- Micronesia -- Polynesia.
Paintings, Prints, and Drawings of Hawaii from the Sam and Mary Cooke Collection by
Sam and Mary Cooke have assembled at Kualii, their Manoa Valley home, a cultural treasure unsurpassed by any other private collection in the islands. This collection of paintings, drawings, and prints of the Hawaiian Islands uniquely reflects the kamaaina appreciation the Cookes have for various locales throughout the islands, including generations-long associations with people and places, and a love of legends and history. In this book, historian and bibliographer David W. Forbes presents a selection of the collection's finest works.
World of Art Series Oceanic Art by
The colours and patterns of the art of the Pacific Islands - spears and shields, carved canoe prows, feather capes or tortoisehell ornaments - have interested Western audiences since the voyages of Captain Cook and Bougainville. Oceanic art in particular, had an influence on the development of the European modernist movement, influencing artists such as Gauguin, Picasso, Giacometti and Kirchner.
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