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  High
Society: American Portraits of the Gilded Age ~ Barbara Dayer Gallati (Editor),
Ortrud Westheider (Editor) – Hardcover: 216 pages Bucerius Kunst Forum. Distributed
by Merrell; 1st edition (July 15, 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.
  Gilbert
Stuart by Carrie Rebora Barratt (Author), Ellen G. Miles (Author) –
Hardcover: 352 pages Metropolitan Museum of Art (Sep 10 2004)
The most successful and resourceful portraitist of America’s
early national period, Gilbert Stuart (1755–1828) possessed
enormous natural talent, bringing his witty and irascible manner
to bear on each of his works. This handsome book highlights
Stuart’s achievements by presenting more than ninety portraits
of exceptional quality, ranging from the early works he produced
in Newport, Rhode Island, to those he executed just before his
death in Boston.
Carrie Rebora Barratt and Ellen G. Miles show how Stuart developed
and maintained a distinctive portrait style, tailoring his portrayals
to fit his subjects. They trace the development of his art from
his hometown of Newport, where he proved his talent, to his
years in London and Dublin, where he mastered the techniques
of the English late-eighteenth-century Grand Manner, to his
return to America (no longer the Colonies but now the United
States), where he dealt with clients in New York, Philadelphia,
Washington, and Boston. The authors provide a short essay about
Stuart in each of the sites of his production, which introduces
the works painted there. There is also a special section devoted
to Stuart’s famous and popular portraits of Washington,
the so-called Vaughan, Athenaeum, and Lansdowne portraits. These
works are discussed in terms of patronage, technique, chronology,
and interpretation.
The most comprehensive book on the artist’s work to date,
Gilbert Stuart is essential for anyone who admires American
art and history.
 A
Memorial Volume of Virginia Historical Portraiture, 1585-1830
by Alexander Wilbourne Weddell – Unknown Binding: 556 pages
Publisher: The William Byrd Press, Incorporated (1930)
Portraits of the Presidents: The National Portrait Gallery
by Frederick S. Voss – Hardcover, 136 pages (November 2000)
Rizzoli
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 Publisher: Pennsylvania State University Press
(November 1, 2003)
The Worlds of Jacob Eichholtz explores the life
and times of an oft-overlooked figure in early
American art. Jacob Eichholtz (1776–1842)
began his career in the metal trades but with
much practice, some encouragement from his friend
Thomas Sully, and a few weeks instruction from
America’s preeminent portraitist, Gilbert
Stuart, he transformed himself into one of the
nation’s most productive portrait painters.
Eichholtz worked primarily in the Middle Atlantic
region from his homes in Lancaster and Philadelphia.
While Stuart and Sully concentrated on the elite
of American society, Eichholtz captured the
images of a rising middle class with its craftsmen,
merchants, doctors, lawyers, and their families.
From a lifetime that spanned the American Revolution
to the Industrial Revolution, and a career that
produced more than 800 paintings, Eichholtz
offers a collective portrait of early American
culture in the first half of the nineteenth
century.
The Worlds of Jacob Eichholtz begins with four
insightful essays by Thomas Ryan, David Jaffee,
Carol Faill, and Peter Seibert that examine
Eichholtz’s life and work. The second part
of the book—a visual essay—brings
together for the first time more than 100 color
reproductions of Eichholtz’s work. These
images include over 60 oil-on-canvas portraits,
more than 30 profiles on panel, and seven of
the landscape, historical, or biblical paintings
he produced. Also illustrated are artifacts
associated with Eichholtz and his family, examples
of the tinsmith’s and coppersmith’s
trade, and the work of artists who influenced
his career. The Worlds of Jacob Eichholtz promises
to be the finest color catalog of Eichholtz’s
oeuvre for years to come.
This book, made possible by the Richard C. von
Hess Foundation, accompanies a major three-part
exhibition that will run concurrently at the
Lancaster County Historical Society, the Heritage
Center Museum of Lancaster County, and the Phillips
Museum of Art at Franklin & Marshall College
from April through December 2003.
 An
Essay on the Portraiture of the American Revolutionary
War: Being an account of a number of the engraved
portraits connected therewith, remarkable for
their rarity or otherwise interesting
by William Loring Andrews – Unknown Binding:
3 pages
Printed by Gillis brothers for the author and sold by Dodd, Mead & Co (1896)
 
Newportraits by Newport Art Museum – Library Binding: 344 pages
University Press of New England; 1st edition (May 1, 2000)
A lavishly illustrated catalog of portraits
of Newport residents from the eighteenth century
to the present.
Newport, Rhode Island, has always been a fabled
American city. From 1639 when it was founded
by religious dissidents from the Massachusetts
Bay Colony until the Revolution, it was one
of the five most important commercial centers
in the colonies, aided, no doubt, by its unusual
policy of religious toleration. Occupied and
burned by the British during the war, Newport
never regained its commercial importance, but
by the end of the nineteenth century it had
become the Gilded Age's most glamorous resort
community and site of the grandest parties and
summer houses of the national Social Register.
Though much of the glamor has evaporated, it
is still one of most visited summer resort locations.
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 (Sep 1999)
Yale Univ Press
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. Essays by noted American art historians
trace the artist's training and subsequent production
of oil paintings, pastels, and miniatures. The
scholarly re-creation of issues pertinent to
the artist and his sitters' social environment
is matchless, and the illustrations alone are
well worth the book's price. However, the text
is not an easy narrative, perhaps because of
its authoritative tone. This study is most appropriate
for academic and specialized library collections
with an emphasis on Early American art and culture.
—Paula A. Baxter, NYPL Copyright 1995
Reed Business Information, Inc.
 
John
Singleton Copley by James T. Flexner,
Deal Hudson (Introduction), Mortimer J. Adler
(Preface) – Hardcover: 139 pages Publisher:
Fordham University Press; 2 edition (January
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.
Copley's life began in the humble surroundings
of Boston's waterfront. As poor boy growing
up in a city where no formal art instruction
was available and the conventional response
of Boston society was a Puritanical mistrust
of such activity, rigorous self-instruction
was Copley's only means to his goal of becoming
a painter. Through laborious work Copley mastered
his craft; the portraits he produced between
1753 and 1774, at the height of his fame, were
distinguished by the fully rounded modeling
and realism which make the personalities of
his sujects come alive. His paintings in these
years were the best works a colonial American
artist had ever produced. Yet his personal letters
reveal that he found life in Boston limited,
as he cites the dearth of great art from which
to learn and by which to be inspired and, complains
of what he perceives to be the underappreciation
of his patrons.
The Boston Tea Part and other events led inexorably
towards the Revolution. Copley was unwillingly
drawn into the troubled political arena; his
loyalist connections made his life in Boston
increasingly turbulent and precarious. In 1774,
at the suggestion of Joshu Reynolds and Benjamin
West, Copley became convinced he was wasting
his talents in the colonies and moved to London
to study the European masters. This decision
marked the second period of his life, lasting
40 years, and instigated a no less dramatic
shift in the style and subject of his art. Copley's
tour of European cities and galleries broadened
the range and scope of his work. He produced
large canvases of sweeping historical scenes
glorifying war, political subjects, and religious
subjects considered taboo in the colonies. Copley's
fame soared to world-wide recognition as a historical
painter. 1802 marks the beginning of Copley's
ascent. In his later work Copley seems to have
lost his strong sense of composition; eventually,
even his draftsmanship seemed to fail him. The
rejection and scorn of critics stung Copley,
who, nearing seventy years old, spent the last
years of his life struggling to regain his former
acclaim.
George and Martha Washington: Portraits from
the Presidential Years by Ellen Gross
Miles, National Portrait Gallery (Smithsonian
Institution) – Paperback: 56 pages Publisher:
University Press of Virginia (February 1, 1999)
Facing the Past: Nineteenth-Century Portraits from the Collection of the Pennsylvania Academy of the Fine Arts by Susan
Danly – Paperback (June 1992) Pennsylvania Academy of the Fine Arts |
 
John Smibert: Colonial America`s First Portrait Painter (A Barra Foundation
Book) by Richard H. Saunders – Hardcover: 294 pages Yale University Press;
Slipcase edition (October 25, 1995)
Though he was born in Scotland and created some of his better portraits in London,
Smibert can rightfully lay claim to the title of America's first portrait painter.
Art historian Saunders (American Colonial Portraits: 1700-1776, LJ 3/15/88) has
carefully documented not only Smibert's life in Scotland and England but also his
travels to Italy. After arriving in the colony of Rhode Island with his good friend,
the philosopher and divine George Berkeley, Smibert hoped to participate in Berkeley's
Utopian plan for a college in Bermuda. When funding for the project proved insufficient,
Smibert remained in America, relocating to Massachusetts, where he turned to depicting
the men and women of Boston. Saunders's meticulous scholarship is highlighted by
his clear prose and engaging telling of Smibert's life. Of particular interest and
usefulness is an extensive catalog of Smibert's works, which includes unlocated
and misattributed works. Recommended for collections of American art and history.
—Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, D.C. Copyright
1996 Reed Business Information, Inc.
The Invention of Painting in America (Leonard Hastings Schoff Lectures)
by David Rosand – Hardcover: 246 pages Columbia University Press (October 20,
2004)
In this exhilarating study, David Rosand shows how America was
transformed from a provincial follower of the established traditions
of European painting to become one of the forerunners of artistic
innovation. Pushing beyond the parochial question of "what
is American about American art?" The Invention of Painting
in America identifies not only the status of the artist and
his or her relationship to the work of art but the larger dialogue
between the artist and society as well.
Eye Contact: Modern American Portrait Drawings from the National Portrait Gallery
by National Portrait Gallery (Smithsonian Institution), Bernard Reilly, Wendy Wick
Reaves, Fla. Naples Museum of Art (Naples, Amon Carter Museum of Western Art (Corporate
Author), Elmhurst Art Museum (Corporate Author) – Hardcover: 304 pages National
Portrait Gallery (July 2002)
Conventional wisdom suggests that portraiture lost its relevance
in the twentieth century, that it was too tied to representation
and biographical narrative to compete. Why then, the vitality
of the the National Portrait Gallery's twentieth-century images
in "Eye Contact?" Far from confirming a moribund tradition,
these pictures are variously adventurous, assertive, witty,
monumental, or confrontational, and all reflect modern aesthetic
concerns. Fifty graphic masterpieces representing the American
artistic tradition from the 1880s to the 1980s are showcased
in this volume, including the work of such renowned artists
as Mary Cassatt, Edward Hopper, Stuart Davis, Jacob Lawrence,
Andy Warhol, and Roy Lichtenstein. Life portraits of well-known
Americans, from politicians and inventors to writers, artists,
and musicians are represented. Theodore Roosevelt, W.C. Fields,
Alice B. Toklas, Igor Stravinsky, Stokely Carmichael, Truman
Capote, and Robert F. Kennedy number among them.
A Brush with History: Paintings from the National Portrait
Gallery by National Portrait Gallery Smithsonian Institution,
Carolyn Kinder, Ellen G. Miles – Paperback, 250 pages (January
2001) University Press of New England
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 (October 1999) Rizzoli International
Publications
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.
In an introductory essay, John House examines how the Impressionists'
revolutionary approach to painting changed portraiture and discusses
the meanings and implications of the various types of portraits
they made. House explains how these portraits were used to establish
public and private identities and what makes them such insightful
expressions of modern life and identity.
An extended catalogue entry by curator Sona Johnston, assisted
by Susan Bollendorf, accompanies each plate, discussing the
identities of the paintings' subjects, the relationships between
artists and sitters, and the place of each painting within the
artist's oeuvre. The stories behind the canvases are revealed
as Johnston highlights the social context of this influential
circle of artists.
An essential volume for lovers of Impressionism, this beautiful
book paints a revealingly intimate picture of the Impressionists'
world.
The Genius of Gilbert Stuart
by Dorinda Evans – Hardcover: 216 pages
Princeton University Press (March 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.
Evans begins by tracing Stuart's early years and artistic beginnings
in Rhode Island. She follows him to London, where he rose to
prominence among such artistic luminaries as Sir Joshua Reynolds
and Benjamin West. She then examines his career in the United
States, where he became the favored portraitist for the country's
leading citizens. In assessing Stuart's artistic importance,
Evans argues that his 1796 "Athenaeum" portrait of
Washington--the most recognized likeness of the president--was
a landmark in the expression of contemporary ideas about moral
strength. More generally, she shows that Stuart's painting reflected
a genius for interpreting the sitter's personality and a growing
awareness of painting's public role in conveying uplifting messages
about social dignity and virtue. She challenges the view that
his later paintings show a decline, revealing many as concerned
with expressing the human soul in a fresh and naturalistic way.
Evans also explores Stuart's private life, discounting recent
portrayals of him as an outcast and a confidence trickster.
She concludes that his notoriously erratic behavior, which veered
from prolonged lethargy to reckless activity and extravagance,
was a sign of manic-depressive illness. Evans gathered information
about Stuart from a wide variety of previously untapped sources,
including unpublished interviews with the artist that shed new
light on controversies over his portraits of Washington and
Thomas Jefferson. The book presents not only Stuart's most famous
pictures--including The Skater and his portraits of early American
presidents--but also many paintings never before published.
Meticulously researched, elegantly written, and richly illustrated,
The Genius of Gilbert Stuart will become the standard account
of one of America's most important early artists.
 Facing
the New World: Jewish Portraits in Colonial and Federal America by Richard
Brilliant, Ellen Smith – Hardcover: 111 pages Prestel (November 1, 1997)
 Gilbert
Stuart: The Father Of American Portraiture (Library of American Art) by
Richard McLanathan – Hardcover: 159 pages Harry N Abrams (September 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. McLanathan
ably presents a clear, intelligent biography that is profusely
illustrated with 51 color reproductions and 50 black-and-whites.
This brief treatment of Stuart's life is not meant to compete
with the only major biography to date, Charles Merrill Mount's
Gilbert Stuart, a Biography (Norton, 1964). However, its inclusion
of recent research and its splendid reproductions make it highly
desirable for most collections. —Daniel J. Lombardo,
Jones Lib., Inc., Amherst, Mass. Copyright 1986 Reed Business
Information, Inc.
American Portrait 1800-1850: A Catalogue of Early Portraits
in the Collections of Union College – Hardcover:
155 pages Publisher: Syracuse Univ Pr (T) (June 1, 1972)
Meet Your Neighbors: New England Portraits, Painters, & Society,
1790-1850 by Caroline F. Sloat (Editor) – Hardcover
(June 1992) Old Sturbridge Village
Portraits in the Massachusetts Historical Society: An Illustrated
Catalogue With Descriptive Matter by Andrew Oliver,
Ann Millspaugh Huff, Edward W. Hanson – Hardcover (September
1988) Massachusetts Historical Society
The Portrait in Eighteenth-Century America (The
American Arts/University of Delaware Press Books Oks) by Ellen
G. Miles (Editor) – Hardcover, Univ of Delaware Press,
1993
American Portraiture in the Grand Manner, 1720-1920
by Michael Quick – Paperback: 228 pages Publisher: Los
Angeles County Museum of Art (1981)
 The
Portrait in Britain and America With a Biographical Dictionary of Portrait Painters 1680-1914 by Robin Simon –
Hardcover, G K Hall, 1987 |
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