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Preface | ||
1 | Coming of Age: Historical Scholarship in American Art | 1 |
2 | Reading Eighteenth-Century American Family Portraits: Social Images and Self-Images | 35 |
3 | Ariadne and the Indians: Vanderlyn's Neoclassical Princess, Racial Seduction, and the Melodrama of Abandonment | 47 |
4 | Thomas Cole and Jacksonian America: The Course of Empire as Political Allegory | 59 |
5 | George Caleb Bingham's The County Election: Whig Tribute to the Will of the People | 77 |
6 | Two Sculptures for the Capitol: Horatio Greenough's Rescue and Luigi Persico's Discovery of America | 93 |
7 | American Folk Art: Questions and Quandaries | 109 |
8 | New Mexican Santos and the Preservation of Religious Traditions | 125 |
9 | Albums of War: On Reading Civil War Photographs | 135 |
10 | Trapper, Hunter, and Woodsman: Winslow Homer's Adirondack Figures | 155 |
11 | Thomas Eakins and "Pure Art" Education | 171 |
12 | The "Earnest, Untiring Worker" and the Magician of the Brush: Gender Politics in the Criticism of Cecilia Beaux and John Singer Sargeant | 177 |
13 | Lifting the "Veil": Henry O. Tanner's The Banjo Lesson and The Thankful Poor | 199 |
14 | Columbus and Columbia: Man of Genius Meets Generic Woman, Chicago, 1893 | 221 |
15 | George Bellows's Stag at Sharkey's: Boxing, Violence, and Male Identity | 243 |
16 | Who Will Paint New York? The World's New Art Center and the New York Paintings of Georgia O'Keeffe | 253 |
17 | American Art and National Identity: The 1920s | 269 |
18 | "In My Family of Primitiveness and Tradition": William H. Johnson's Jesus and the Three Marys | 285 |
19 | Images of American Women in the 1930s: Reginald Marsh and Paramount Picture | 295 |
20 | Florine Stettheimer: Rococo Subversive | 303 |
About the Editor and Contributors | 319 | |
Index | 321 |
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