Irma B. Jaffe - The Italian presence in American art, 1760-1860
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The Italian Presence in American Art is a wide-ranging examination of aspects of American art that owe an important debt to Italy and Italian artists.
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3 "An Influence in the Air": Italian Art and American Taste in the Mid-Nineteenth Century
Lillian B. Miller
26
4 Transformations: Copley in Italy
Roger B. Stein
53
5 Theory and Practice: Leonardo da Vinci's Importance for American Artists, 18201860
Katherine E. Manthorne
56
6 Sleeping and Waking Fauns: Harriet Goodhue Hosmer's Experience of Italy, 18521870
Andrea Mariani
66
7 Washington Allston's Moonlit Landscape
Marcia Briggs Wallace
82
8 Compliance and Resistance: Samuel F. B. Morse, Puritan in Arcadia
Paul J. Staiti
95
9 On Return from Arcadia in 1832
Ellwood C. Parry III
106
10 The Italian Presence in the United States Capitol
Vivien Green Fryd
132
11 Constantino Brumidi's Frescoes in the United States Capitol
Barbara A. Wolanin
150
Page vi
12 An American Macchiaiolo: New Insights into Elihu Vedder's Florentine Experience, 18571860
Regina Soria
165
13 Veiled Memories, or, Thomas Crawford in Rome
Lauretta Dimmick
176
14 Creativity, Inspiration, and Scandal: Harriet Hosmer and Zenobia
Carol Zastoupil
195
15 The Italianate Villa and the Search for an American Style, 18401860
Charles E. Brownell
208
16 Palladio in America, 17601820
Margherita Azzi Visentini
231
Page vii
Editor's Preface
It would be impossible to overstate the debt of insight and inspiration that the Western world owes to Italian culture. Can we even begin to estimate how much our aesthetic and intellectual expectations have been nourished by the literature, the music, the painting, the sculpture, the architecture of Italy? The United States, as much as any nation in the world, has been enriched by the mysterious Italian genius, and indeed before we had achieved nationhood we had already found our way to the fountain. Cicero and Seneca were quoted with ease in the wilderness of the New World, and a boy growing up in the hinterlands of Pennsylvania, touched at his birth in 1738 by the muse of painting, determined that he would some day go to the land of Raphael. The day did in fact come, and Benjamin West arrived in Italy in 1760, the first of countless American artists who traveled to Rome, to Florence, to Venice, and to the many smaller treasure-filled cities and towns, to learn their art and to enrich their souls. They went with a sense of spiritual return.
Although it is well known that American artists from the time of Benjamin West on (and to the present day) went to Italy to study, a close examination of what that experience meant to them had never been undertaken. One of the rewards of reading the wide-ranging papers that make up this volume is the satisfaction of finding previously broad generalizations brought into sharp focus. Another is finding the recurrence of certain themes that bring a surprising coherence to the essays as a group, a phenomenon that testifies to the shared concerns of historians of American art today as much as it does to the shared experiences of our journeying artists and their fellow American cultural explorers in their first hundred years of European travel. The reversal of the current of traffic across the Atlantic should not pass unnoticed: Europeans had come to the New World not only to found a new Jerusalem but also in search of material riches. Now their descendants were returning from a Jerusalem that many lamented had been corrupted by materialism, in search of spiritual treasure.
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