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À LA MODE FRANÇAISE: LA LITHOGRAPHIE AUX ESTATS-UNIS, 1820-1860
by Barnhill, Georgia B. (editor)
- Used
- Condition
- See description
- Seller
-
New Castle, Delaware, United States
6 Copies Available from This Seller
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About This Item
Worcester, Massachusetts: American Antiquarian Society, 2013. paperback. 8.5 x 10 inches. paperback. 128 pages. À la Mode Française: La Lithographie aux Estats-Unis, 1820-1860 from the American Antiquarian Society features five essays from Georgia B. Barnhill, Lauren B. Hewes, Catherine Wilcox-Titus, Marie-Stéphanie Delamaire, and Helena E. Wright that explore several topics of interest to scholars of American print publishing. Together, the essays examine the impact of French lithographic practice on the American lithographic industry and American visual culture; the circulation of French imagery in the United States with a case study on portraits of Napoleon and Lafayette; Goupil's French lithographs after American genre and history paintings; and the use of French lithographs in didactic displays at the Smithsonian Institution in the late nineteenth century.
The book explores the variations in quality among early American lithographs. The first essay by Georgia Barnhill closely looks at this phenomenon and examines the work of several academically-trained French lithographic artists who worked in New Orleans, New York, Philadelphia, and Boston from the mid-1830s to 1860.
The essay by Lauren Hewes looks at the circulation of French imagery in the United States. Some lithographs in the American Antiquarian Society collection were published in France for an American market, and there is a selection of sentimental prints and portraits that were printed in the United States, but were French in derivation. The book provides reasoning for why prints of Napoleon and Lafayette were moved into the American culture. Using the paintings and prints of these two political leaders as a case study, Catherine Wilcox-Titus reveals the importance of lithography to the dissemination of fine art to a large mass audience.
Next, the essay by Marie-Stéphanie Delamaire considers how the American paintings reproduced by Goupil, Vibert and Company led to the transatlantic cultural understanding and exchange. Because Goupil published so many lithographs for American and European audiences, he is an important part of the link between French and American lithography. The last essay by Helena Wright provides thoughts on the afterlife of French lithographs in American culture and the collecting and use of French lithographs in the United States National Museum.
Illustrated with black-and-white and color prints, this publication will be an excellent resource for the study of American prints and the French influence on the development of early lithography in the United States.
Corners bumped.
The book explores the variations in quality among early American lithographs. The first essay by Georgia Barnhill closely looks at this phenomenon and examines the work of several academically-trained French lithographic artists who worked in New Orleans, New York, Philadelphia, and Boston from the mid-1830s to 1860.
The essay by Lauren Hewes looks at the circulation of French imagery in the United States. Some lithographs in the American Antiquarian Society collection were published in France for an American market, and there is a selection of sentimental prints and portraits that were printed in the United States, but were French in derivation. The book provides reasoning for why prints of Napoleon and Lafayette were moved into the American culture. Using the paintings and prints of these two political leaders as a case study, Catherine Wilcox-Titus reveals the importance of lithography to the dissemination of fine art to a large mass audience.
Next, the essay by Marie-Stéphanie Delamaire considers how the American paintings reproduced by Goupil, Vibert and Company led to the transatlantic cultural understanding and exchange. Because Goupil published so many lithographs for American and European audiences, he is an important part of the link between French and American lithography. The last essay by Helena Wright provides thoughts on the afterlife of French lithographs in American culture and the collecting and use of French lithographs in the United States National Museum.
Illustrated with black-and-white and color prints, this publication will be an excellent resource for the study of American prints and the French influence on the development of early lithography in the United States.
Corners bumped.
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Details
- Bookseller
- Oak Knoll Books/Oak Knoll Press
(US)
- Bookseller's Inventory #
- 125059
- Title
- À LA MODE FRANÇAISE: LA LITHOGRAPHIE AUX ESTATS-UNIS, 1820-1860
- Author
- Barnhill, Georgia B. (editor)
- Format/Binding
- Paperback
- Book Condition
- Used
- Quantity Available
- 6
- Publisher
- American Antiquarian Society
- Place of Publication
- Worcester, Massachusetts
- Date Published
- 2013
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About the Seller
Oak Knoll Books/Oak Knoll Press
Biblio member since 2006
New Castle, Delaware
About Oak Knoll Books/Oak Knoll Press
Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. Oak Knoll Books is a thriving company that maintains an inventory of about 20,000 titles. Our main specialties are books about bibliography, book collecting, book design, book illustration, book selling, bookbinding, bookplates, children's books, Delaware books, fine press books, forgery, graphic arts, libraries, literary criticism, marbling, papermaking, printing history, publishing, typography & type specimens, and writing & calligraphy - plus books about the history of all of these fields.
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