***** ARTISTS ON THE LEFT: American Artists and the Communist Movement, 1926-1956 Andrew Hemingway
Price: £45.00 U.S. Price: $60.00 Published: 30 October, 2002 Cloth Bound 416pp 40 colour + 150 black and white illustrations 270 x 217mm ISBN: 0300092202
"This book stands as one of the most remarkable ever written on the American Left, Left-wing culture, and radicals' art in the U.S."--Paul Buhle, coauthor, Images of American Radicalism, and coeditor, Encyclopedia of the American Left
This remarkable book is the first to examine in abundant detail the relation between visual artists and the American Communist movement during the twentieth century. Andrew Hemingway charts the rise and decline of the Communist Party's influence on art in the United States from the Party's dramatic rise in prestige during the Great Depression to its effective demise in the 1950s. Offering a full account of how left-wing artists responded to the Party's various policy shifts over these years, Hemingway shows that the Communist Party exerted a powerful force in American culture, even after the Nazi Soviet Pact of 1939. The author scrutinizes the works of an array of leftist artists, many of great interest but largely forgotten today. He demonstrates that American art produced within the Communist Party's orbit was far more diverse and had a much more complex relationship with modernism than has been previously understood. Refusing to march in lockstep to Party requirements, artists and critics in and around the Party accepted no single aesthetic line and engaged in heated debates. Hemingway offers radical new interpretations of some familiar works, reassesses the role of the John Reed Clubs and the work of artists in the federal art programmes, and revises accepted thinking about art in the United States during the Cold War. In short, he offers a distinguished and original political history that recovers the rich artistic and intellectual legacy of the American left.
Andrew Hemingway is reader in history of art, University College London.
<http://www.yale.edu/yup/books/092202.htm> + <http://www.yaleup.co.uk/00092202.htm> *****
Andrew Hemingway: <http://www.ucl.ac.uk/art-history/people1j.htm>
***** Art in Bourgeois Society, 1790-1850
Andrew Hemingway, William Vaughan
£50.00 June 1998 | Hardback | 386 pages 73 half-tones | ISBN: 052155182X In stock
The relationship between art and class was a central concern of the 'New Art History' of the 1970s. However, the political shifts of the 1980s together with the vogue for Poststructuralist theory have worked to marginalise class analysis in the humanities. This collection, edited by Andrew Hemingway (The Norwich School of Painters, 1803-33, Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain), and William Vaughan (Romantic Art, German Romanticism and English Art, German Romantic Painting), is intended to reassert its importance both through a reconsideration of the status of Marxism after the fall of Communism, and through concrete studies of artistic practices in the key phase of bourgeois history from 1790 to 1850. An international group of contributors reflect the inherently international nature of capitalism through studies of related developments in four societies, namely Britain, France, Germany, and the United States.
Contributors
Andrew Hemingway, Ann Pullan, Greg Smith, Kay Dian Kriz, Thomas Gretton, Alex Potts, Richard Wrigley, Helen Weston, Andrew C. Shelton, William Vaughan, Frank Büttner, Werner Busch, Françoise Forster-Hahn, Alan Wallach, Patricia Hills, Angela Miller
Contents Introduction: Marxism and art history after the fall of Communism Andrew Hemingway; Part I. Britain: Introduction Andrew Hemingway; 1. Public goods or private interests? The British institution in the early nineteenth century Ann Pullan; 2. The watercolour as commodity: the exhibitions of the Society of Painters in Watercolours, 1805-1812 Greg Smith; 3. French glitter or English nature? Representing Englishness in landscape painting, c. 1790-1820 Kay Dian Kriz; 4. 'Art is cheaper and goes lower in France': the language of the Parliamentary Select Committee on the Arts and Principles of Design of 1835-6 Thomas Gretton; 5. The impossible ideal: romantic conceptions of the Parthenon sculptures in early nineteenth-century Britain and Germany Alex Potts; Part II. France: Introduction Andrew Hemingway; 6. The class of '89?: cultural aspects of Bourgeois identity in the aftermath of the French Revolution Richard Wrigley; 7. Working for a Bourgeois republic: Prud'hon, patronage and the distribution of wealth under the Directoire and Consulate Helen Weston; 8. 'Les marchands sont plus que jamais dans le temple': the revival of monumental decorative painting in France during the July monarchy Andrew C. Shelton; Part III. Germany: Introduction William Vaughan; 9. Correcting Friderich (Friedrich); Nature and society in post-Napoleonic Germany William Vaughan; 10. The frescoes of Peter Cornelius in the Munich Ludwigskirche and contemporary criticism Frank Büttner; 11. Conservatism and innovation in Moritz von Schwind Werner Busch; 12. The German experience of 1848: imaging the Vormärz, the revolution and its aftermath Françoise Forster-Hahn; Part IV. United States: Introduction Andrew Hemingway; 13. Long-term visions, short-term failures: art institutions in the United States 1800-1860 Alan Wallach; 14. The American art-union as patron for expansionist ideology in the 1840s Patricia Hills; 15. Landscape taste as an indicator of class identity in Antebellum America Angela Miller.
<http://books.cambridge.org/052155182X.htm> ***** -- Yoshie
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