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Displaying results 1 to 7 of 7.

  1. Making race
    modernism and "racial art" in America
    Author: Francis, Jacqueline
    Published: c2012
    Publisher:  University of Washington Press, Seattle, Wash. [u.a.]

    "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City... more

    Location:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Ethnologisches Museum, Bibliothek
    Signature:
    NA 7/Fra
    Inter-library loan:
    No inter-library loan

    Location:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    Signature:
    ::8:2012:2948:
    Inter-library loan:
    No inter-library loan

     

    "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher

     
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    Content information
    Source: Union catalogues
    Language: English
    Media type: Book
    Format: Print
    ISBN: 0295991453; 9780295991450
    Subjects: Modernism (Art); Art criticism; Art and race; Painting, American
    Other subjects: Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961)
    Scope: XIV, 250 S., [4] Bl, Ill, 23 cm
    Notes:

    "A McLellan book"--T.p

    Includes bibliographical references (p. 155-236) and index

    Introduction -- The meanings of modernism -- Making race in American religious painting -- Type/face/mask: racial portraiture -- The race of landscape -- Conclusion.
  2. Making race
    modernism and racial art in America
    Author: Francis, Jacqueline
    Published: c2012
    Publisher:  University of Washington Press, Seattle

    Location:
    Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Bibliothek

    Location:
    Zentralinstitut für Kunstgeschichte, Bibliothek
    Inter-library loan:
    No loan of volumes, only paper copies will be sent
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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 0295991453; 9780295804330; 9780295991450
    Subjects: Geschichte; Modernism (Art); Painting, American; Art criticism; Art and race; Künstler; Minderheit; Malerei; Ethnizität <Motiv>
    Other subjects: Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961); Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961)
    Scope: xiv, 250 p.
    Notes:

    "A McLellan book"

    Includes bibliographical references and index
  3. Making race
    modernism and "racial art" in America
    Author: Francis, Jacqueline
    Published: 2012
    Publisher:  Univ. of Washington Press, Seattle [u.a.]

    Location:
    Universitätsbibliothek Erlangen-Nürnberg, Hauptbibliothek
    Inter-library loan:
    Unlimited inter-library loan, copies and loan

    Location:
    Bayerische Staatsbibliothek
    Inter-library loan:
    Unlimited inter-library loan, copies and loan

    Location:
    Zentralinstitut für Kunstgeschichte, Bibliothek
    Inter-library loan:
    No loan of volumes, only paper copies will be sent
    Export to reference management software   RIS file
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    Content information
    Source: Union catalogues
    Language: English
    Media type: Book
    ISBN: 9780295991450
    Subjects: Geschichte; Modernism (Art); Painting, American; Art criticism; Art and race; ART / American / African American; ART / American / Asian American; SOCIAL SCIENCE / Ethnic Studies / General; Künstler; Minderheit; Ethnizität <Motiv>; Malerei
    Other subjects: Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961); Johnson, Malvin Gray (1896-1934); Weber, Max (1881-1961); Kuniyoshi, Yasuo (1889-1953)
    Scope: XIV, 250 S., [4] Bl., Ill.
    Notes:

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"-- Provided by publisher. -- "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"-- Provided by publisher.

    Includes bibliographical references and index
  4. Making race
    modernism and "racial art" in America
    Author: Francis, Jacqueline
    Published: 2012
    Publisher:  Univ. of Washington Press, Seattle [u.a.]

    Location:
    Freie Universität Berlin, Universitätsbibliothek
    Inter-library loan:
    Unlimited inter-library loan, copies and loan

    Location:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    Inter-library loan:
    Unlimited inter-library loan, copies and loan
    Export to reference management software   RIS file
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    Source: Philologische Bibliothek, FU Berlin
    Language: English
    Media type: Book
    ISBN: 9780295991450
    Subjects: Geschichte; Modernism (Art); Painting, American; Art criticism; Art and race; ART / American / African American; ART / American / Asian American; SOCIAL SCIENCE / Ethnic Studies / General; Künstler; Minderheit; Ethnizität <Motiv>; Malerei
    Other subjects: Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961); Johnson, Malvin Gray (1896-1934); Weber, Max (1881-1961); Kuniyoshi, Yasuo (1889-1953)
    Scope: XIV, 250 S., [4] Bl., Ill.
    Notes:

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"-- Provided by publisher. -- "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"-- Provided by publisher.

    Includes bibliographical references and index
  5. Making race
    modernism and "racial art" in America
    Author: Francis, Jacqueline
    Published: 2012
    Publisher:  University of Washington Press, Seattle, Wash. [u.a.]

    "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City... more

    Location:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Ethnologisches Museum, Bibliothek
    Signature:
    NA 7/Fra
    Inter-library loan:
    No inter-library loan

    Location:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    Signature:
    ::8:2012:2948:
    Inter-library loan:
    No inter-library loan

    Location:
    Universitätsbibliothek Heidelberg
    Signature:
    2012 C 1221
    Inter-library loan:
    Unlimited inter-library loan, copies and loan

     

    "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher

     
    Export to reference management software   RIS file
      BibTeX file
    Content information
    Source: Union catalogues
    Language: English
    Media type: Book
    Format: Print
    ISBN: 9780295991450; 0295991453
    Other identifier:
    9780295991450
    Subjects: Modernism (Art); Art criticism; Art and race; Painting, American
    Other subjects: Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961)
    Scope: XIV, 250 S.
    Notes:

    "A McLellan book"--T.p

    Includes bibliographical references (p. 155-236) and index

    Introduction -- The meanings of modernism -- Making race in American religious painting -- Type/face/mask: racial portraiture -- The race of landscape -- Conclusion.
  6. Making race
    modernism and racial art in America
    Author: Francis, Jacqueline
    Published: c2012
    Publisher:  University of Washington Press, Seattle

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public... more

    Location:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
    Inter-library loan:
    Unlimited inter-library loan, copies and loan

     

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher

     
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    Volltext (lizenzpflichtig)
  7. Making race
    modernism and racial art in America
    Author: Francis, Jacqueline
    Published: c2012
    Publisher:  University of Washington Press, Seattle

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public... more

    Location:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    Inter-library loan:
    No inter-library loan

    Location:
    Hochschulbibliothek Friedensau
    Signature:
    Online-Ressource
    Inter-library loan:
    No inter-library loan

    Location:
    Hochschule für Wirtschaft und Umwelt Nürtingen-Geislingen, Bibliothek Nürtingen
    Signature:
    eBook ProQuest
    Inter-library loan:
    No inter-library loan

     

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher

     
    Export to reference management software   RIS file
      BibTeX file
    Content information
    Volltext (lizenzpflichtig)