The American Renaissance:
Cosmopolitanism and the New American Art
by Stephanie Street
Resource Library editor's
This essay is excerpted from the 207 page book titled A
National Image: The American Painting And Sculpture Collection In The San
Antonio Museum Of Art, published in 2003 by the University of Texas Press, ISBN Number
1-883502-11-X. The book contains 70 color and 31 black and white illustrations.
(right: front cover of A National Image: The American Painting
And Sculpture Collection In The San Antonio Museum Of Art. Courtesy
According to the University of Texas Press:
- Presenting the first comprehensive catalogue of the San
Antonio Museum of Art (SAMA) American art collection, A National Image
reflects the artistic and chronological range of the museum's collection.
Included in this group are works by John Singleton Copley, Thomas Sully,
Edward Hicks, John Singer Sargent, Winslow Homer, Martin Johnson Heade,
Albert Bierstadt, Jacob Lawrence, and many more important American artists.
- The catalogue, comprised of over one hundred works of
art including oil paintings, stone and metal sculptures, and works on paper,
is divided into two sections. The main section of the book comprises four
introductory essays and seventy catalogues objects, full illustrated with
color plates and details, the masterpieces of the San Antonio collection
of American art. The second section is an appendix of thirty-one works,
which are illustrated in black and white. The represent both the lesser-known
works of notable artists and the works of lesser-known artist[s], all of
which are a valuable addition to the study of American art in particular,
and art history in general.
- Lisa Reitzes was formerly Chair of the Department of
Art History at Trinity University in San Antonio. Stephanie Street is an
independent Texas scholar and consultant. Gerry D. Scott, III, is Curator
of Ancient Art at SAMA
Resource Library wishes to
extend appreciation to the University of Texas Press for forwarding a copy
of the book and to Ms. Shannon Huntington Standley of the San Antonio Museum
of Art, for her help concerning permissions for reprinting the above text.
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