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200 pages. Softcover. Brand new book. RIVERS. It was not until the first decade of the twentieth century, as artists like Robert Henri and John Sloan turned their attention to the urban scene, that American art shifted its focus from bucolic landscapes to the cities, the towns, the crowds, especially the raucous urban scene of Manhattan&emdash; by then the nation's most important metropolis. This movement away from painting the land to painting the life on the street is often seen as a clean break with the depiction of the landscape, and with landscape painting generally as a mainstay of American art in the face of European Modernism. However, artists continued to paint the Hudson River, as well as its tributaries, the Harlem and East rivers, and the great harbor of New York City into which they flowed. What was different was their approach. Having jettisoned the romantic ideals of their forebears, artists like Henri and Sloan, and later, Georgia O'Keeffe, George Ault, Edward Hopper, and Preston Dickinson, celebrated the changing way of life along the city's waterfront. As the century progressed, they did so with sharper focus and with ideals borrowed from the Machine Age. Instead of majestic mountain ranges, their subjects were the arching bridges, swinging cranes, and streamlined ocean liners resting in the harbor. These artists took the elements of the Sublime, combined them with Modernism's interest in structure and form, and applied them to the manmade industrial one&emdash; thereby creating a new visual vocabulary for the twentieth century: the Industrial Sublime. Industrial Sublime takes as its focus this shift in both style and sensibility during the years 1900-1940, and explores the development of a new mode of landscape painting and pictorial ideals suited to America's role as a global industrial power. 9 1/2 x 13, 200 Pages, 150 Color Illustrations. Co-published with the Hudson River Museum, Yonkers. The exhibition Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940 ran from October 12, 2013, through January 17, 2014. Katherine Manthorne is Professor of Modern Art of the Americas at the CUNY Graduate Center. She earned her Ph.D. from Columbia University and previously headed the Research Center at the Smithsonian's American Art Museum, where she also served as executive editor of American Art. Prior to that she was professor and chairperson of art history at the University of Illinois at Champaign-Urbana. Recipient of various awards and fellowships, she was a Senior Fulbright Research Fellow and the first professor of American art at the University of Venice, Italy. She has collaborated on museum exhibitions and publications including The Landscapes of Louis Rémy Mignot: A Southern Painter Abroad; El Barón de Courcy: Ilustraciones de un viaje, 1831-1833; Creation and Renewal: Views of Cotopaxi by Frederic Edwin Church; and currently Sand and Fog: The Luminist Paintings and Collection of James Suydam. Contributors Bartholomew F. Bland is Director of Curatorial Affairs at the Hudson River Museum. Among the exhibitions with accompanying catalogs he has organized for the museum are "Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940"; "The Panoramic River: The Hudson and the Thames"; "Sylvia Sleigh: Invitation to a Voyage"; "Whitfield Lovell: All Things in Time"; "Red Grooms: In the Studio"; and "I Want Candy: The Sweet Stuff in American Art." He has organized interpretive projects for the Palazzo Strozzi in Florence, the Ronchini Gallery in London, and the Flagler Museum in Palm Beach, Florida. Kirsten Jensen is the co-curator of Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940, and joined the staff of the Hudson River Museum as a curator beginning in January of 2013. Her upcoming projects include an exhibition on Westchester designer Vera Neumann's influence on twentieth-century style...
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