SELECTED BIBLIOGRAPHY

OVERVIEWS
REVOLUTION
SLAVERY, SECTIONAL CONFLICT AND RECONSTRUCTION
POSTBELLUM WEST
TURN OF THE CENTURY CITY
GREAT DEPRESSION AND NEW DEAL
MISCELLANEOUS


OVERVIEWS

Sylvan Barnett. A Short Guide to Writing About Art.

Bowles, et al. "Blinded by the White: Art and History at the Limits of Whiteness," Art Journal (Vol. 60, No. 4, Winter 2001).

Peter Burke, Eyewitnessing: The Uses of Images As Historical Evidence (Cornell University Press, 2001).

Marianne Doezema and Elizabeth Milroy, ed. Reading American Art (New Haven: Yale University Press, 1998).

Stephen Hess and Milton Kaplan. The Ungentlemanly Art: A History of American Political Cartoons (New York: Macmillan, 1968; revised ed., New York: Macmillan, 1975).

William M. Ivins, Jr. How Prints Look (New York: Metropolitan Museum of Art, 1943; revised ed., Boston: Beacon Press, 1987).

__________. Prints and Visual Communication (Cambridge: Harvard University Press, 1953; reprint ed., Cambridge: Massachusetts Institute of Technology Press, 1969).

Thomas Milton Kemnitz. "The Cartoon as a Historical Source," Journal of Interdisciplinary History 4 (Summer 1973): 81-93.

B. E. Maidment. Reading Popular Prints, 1790-1870 (Manchester: Manchester University Press, 1996).

Making Sense of Evidence: interactive guides on "How to Read" photographs, advertisements, and films on the History Matters Web site.

Katharine Martinez, "Imaging the Past: Historians, Visual Images and the Contested Definition of History," Visual Resources 11 (1995): 21-45.

Louis P. Masur, "'Pictures Have Now Become a Necessity': The Use of Images in American History Textbooks," Journal of American History, March 1998, 1409-1438.

Donald McQuade and Christine McQuade. Seeing and Writing.

Nicholas Mirzoeff. An Introduction to Visual Culture New York: Routledge, 1999.

__________, ed. Visual Culture Reader (New York: Routledge, 1998).

W. J. T. Mitchell, "Interdisciplinarity and Visual Culture," Art Bulletin (Dec. 1995, Vol. LXXVII No. 4).

Roy Porter, "Seeing the Past," Past and Present, February 1988, 186-205.

Barbara Maria Stafford. Good Looking: Essays on the Virtue of Images (Cambridge: MIT Press, 1997).

Robert Taft. Photography and the American Scene: A Social History, 1839-1889 (New York: Macmillan, 1938).

Joshua C. Taylor. America as Art (Washington, D.C.: Smithsonian Institution Press, 1976).

Alan Trachtenberg. Reading American Photographs: Images as History, from Mathew Brady to Walker Evans (New York: Hill and Wang, 1989).

Colin Westerbeck. "Frederick Douglass Chooses His Moment," Museum Studies/Art Institute of Chicago (Vol. 24, No. 2).

Deborah Willis. Reflections in Black: A History of Black Photographers 1840 to the Present (New York: W.W. Norton, 2000).


REVOLUTION

Clarence S. Brigham. Paul Revere's Engravings (Worcester: American Antiquarian Society, 1954; revised ed., New York: Atheneum, 1969).

Donald Cresswell, comp. The American Revolution in Drawings and Prints: A Checklist of 1765-1790 Graphics in the Library of Congress (Washington, D.C.: Library of Congress, 1975).

Louis P. Masur, "Reading Watson and the Shark," New England Quarterly 67 (September 1994): 427-454.


SLAVERY, SECTIONAL CONFLICT AND RECONSTRUCTION

Albert Boime, The Art of Exclusion: Representing Blacks in the Nineteenth Century (Washington, DC: Smithsonian Institution Press, 1990).

Gary L. Bunker. From Rail-splitter to Icon: Lincoln's Image in Illustrated Periodicals, 1860-1865 (Kent: Kent State University Press, 2001).

William P. Campbell. The Civil War: A Centennial Exhibition of Eyewitness Drawings (Washington, D.C.: National Gallery of Art, 1961).

Jan Zita Grover. "The First Living-Room War: The Civil War in the Illustrated Press," Afterimage (February 1984): 8-11.

Michael Hatt. "'Making a Man of Him': Masculinity and the Black Body in Mid-Nineteenth-Century American Sculpture," Oxford Art Journal 15:1 (1992): 21-35.

Harold Holzer, Gabor S. Borritt, and Mark E. Neely, Jr. The Lincoln Image: Abraham Lincoln and the Popular Print (New York: Charles Scribner's Sons, 1984).

__________. The Confederate Image: Prints of the Lost Cause (Chapel Hill: University of North Carolina Press, 1987).

Hugh Honour. The Image of the Black in Western Art. Volume IV: From the American Revolution to World War I: 1. Slaves and Liberators (Cambridge: Harvard University Press, 1989).

Morton Keller. The Art and Politics of Thomas Nast (New York: Oxford University Press, 1968).

Phillip Lapansky, "Graphic Discord: Abolitionist and Antiabolitionist Images," in The Abolitionist Sisterhood: Womenıs Political Culture in Antebellum America, Jean Fagan Yellin and John C. Van Horne, eds. (Ithaca: Cornell University Press, 1994)pp. 201-30.

Guy C. McElroy. Facing History: The Black Image in American Art, 1710-1940 (Washington, D.C.: The Corcoran Gallery of Art, 1990).

Nell Irvin Painter, "Representing Truth: Sojourner Truth's Knowing and Becoming Known," Journal of American History Vol. 81, No. 2. (September 1994), 461-492.

Bernard Reilly, Jr. "The Art of the Antislavery Movement." In Courage and Conscience: Black and White Abolitionists in Boston, 47-73. Edited by Donald M. Jacobs. Bloomington: Indiana University Press, 1993.

Kirk Savage, Standing Soldiers, Kneeling Slaves: Race, War, and Monument in Nineteenth-Century America (Princeton: Princeton University Press, 1997).

W. Fletcher Thompson. The Image of War: The Pictorial Reporting of the American Civil War (New York: Thomas Yoseloff, 1959).

John Michael Vlach. The Planter's Prospect: Privilege and Slavery in Plantation Paintings (Chapel Hill: University of North Carolina Press, 2002).

Marcus Wood. Blind Memory: Visual Representations of Slavery in England and America, 1780-1865 (New York: Routledge, 2000).

Peter Wood, "Waiting in Limbo: A Reconsideration of Winslow Homer's 'The Gulf Stream'," in The Southern Enigma: Essays in Race, Class, and Folk Culture, ed. Walter J. Fraser Jr. and Winfred B. Moore Jr. (Westport, CT: Greenwood Press, 1983), pp. 75-94.

__________ and Karen C. C. Dalton. Winslow Homer's Images of Blacks: The Civil War and Reconstruction Years (Austin: University of Texas Press, 1988).


POSTBELLUM WEST

Sarah Burns. Pastoral Inventions: Rural Life in Nineteenth-Century American Art and Culture (Philadelphia: Temple University Press, 1989).

Philip P. Choy, Lorraine Dong, and Marlon K. Hom, eds. The Coming Man: 19th Century American Perceptions of the Chinese (Seattle: University of Washington Press, 1994).

William Cronon, "Telling Tales on Canvas: Landscapes of Frontier Change," in Discovered Lands, Invented Pasts (Yale, 1992), pp. 37-87.

Brian W. Dippie. Catlin and His Contemporaries: The Politics of Patronage (Lincoln: University of Nebraska Press, 1990).

Estelle Jussim. Frederic Remington, the Camera and the Old West (Fort Worth: Amon Carter Museum, 1983).

Joni Louise Kinsey, Thomas Moran and the Surveying of the American West (Smithsonian Institution Press, 1992).

Lucy R. Lippard, ed. Partial Recall: Photographs of Native North Americans (New York: The New Press, 1992).

Angela L. Miller. The Empire of the Eye : Landscape Representation and American Cultural Politics, 1825-1875 (Ithaca: Cornell University Press, 1993).

Martha A. Sandweiss, Picture Stories: Photography and the Nineteenth-Century West (New Haven: Yale University Press, 2002).

Robert Taft. Artists and Illustrators of the Old West, 1850-1900 (New York: Charles Scribner's Sons, 1953).

John Kuo Wei Tchen, Gentheıs Photographs of San Franciscoıs Old Chinatown (New York: Dover, 1984).


TURN OF THE CENTURY CITY

Appel, John J. "From Shanties to Lace Curtains: The Irish Image in Puck, 1876-1910." Comparative Studies in Society and History 13:4 (October 1971): 365-75.

__________. "Jews in American Caricature, 1820-1914." American Jewish History 71:1 (September 1981): 103-33.

Martha Banta. Imaging American Women: Idea and Ideals in Cultural History (New York: Columbia University Press, 1987).

Michele H. Bogart, Public Sculpture and the Civic Ideal in New York City, 1890-1930 (Chicago: University of Chicago Press, 1989).

__________. Advertising, Artists, and the Borders of Art (Chicago: University of Chicago Press, 1995).

Joshua Brown. "A Spectator of Life‹A Reverential, Enthusiastic, Emotional Spectator," American Quarterly 49:2 (June 1997): 356-84.

Michael L. Carlebach. American Photojournalism Comes of Age (Washington, D.C.: Smithsonian Institution Press, 1997).

Melissa Dabakis. Visualizing Labor in American Sculpture: Monuments, Manliness, and the Work Ethic, 1880-1935 (New York: Cambridge University Press, 1999).

Helen Damon-Moore. Magazines for the Millions: Gender and Commerce in the Ladies' Home Journal and the Saturday Evening Post: 1880-1910 (Albany: State University of New York Press, 1994).

Dormon, James H. "Ethnic Stereotyping in American Popular Culture: The Depiction of American Ethnics in the Cartoon Periodicals of the Gilded Age." Amerikastudien 30:4 (1985): 489-507.

"Ethnic Images in the Comics." Nemo 28 (December 1987).

Ellen Garvey. The Adman and the Parlor: Magazines and the Gendering of Consumer Culture, 1880s to 1910s (New York: Oxford University Press, 1996).

James Gilbert, "Fixing the Image: Photography at the World's Columbian Exposition" in Grand Illusions: Chicagoıs Worldıs Fair of 1893 (Chicago: Chicago Historical Society, 1993).

Ian Gordon. Comic Strips and Consumer Culture, 1890-1945 (Washington, D.C.: Smithsonian Institution Press, 1998).

Peter Bacon Hales. Silver Cities: The Photography of American Urbanization, 1839-1915. Philadelphia: Temple University Press, 1984.

Hansen, Miriam. Babel and Babylon: Spectatorship in American Silent Film (Cambridge: Harvard University Press, 1991).

Neil Harris, "Iconography and Intellectual History: The Halftone Effect," in New Directions in American Intellectual History (Johns Hopkins, 1979), pp. 196-211.

Jussim, Estelle. Visual Communication and the Graphic Arts: Photographic Technologies in the Nineteenth Century. New York: R. R. Bowker, 1974; new ed., 1983.

Ulrich Keller. "Photojournalism around 1900: The Institutionalization of a Mass Medium." In Shadow and Substance: Essays in the History of Photography, 283-303. Edited by Kathleen Collins (Bloomfield Hills: Amorphous Press, 1990).

Carolyn Kitch, The Girl on the Magazine Cover: The Origins of Visual Stereotypes in American Mass Media (Chapel Hill: University of North Carolina Press, 2001).

Larry Peterson. "Photography and the Pullman Strike: Remolding Perceptions of Labor Conflict by New Visual Communication." In The Pullman Strike and the Crisis of the 1890s: Essays on Labor and Politics, 87-129. Edited by Richard Schneirov, Shelton Stromquist, and Nick Salvatore (Urbana: University of Illinois Press, 1999).

David Clayton Phillips. "Art for Industry's Sake: Halftone Technology, Mass Photography and the Social Transformation of American Print Culture, 1880-1920." Ph.D. dissertation, Yale University, 1996.

Jennifer Scanlon. Inarticulate Longings: The Ladies' Home Journal, Gender, and the Promises of Consumer Culture (New York: Routledge, 1995.

Alice Sheppard. Cartooning for Suffrage (Albuquerque: University of New Mexico Press, 1993).

Maren Stange. Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (Cambridge: Cambridge University Press, 1989).

Sally Stein. "Making Connections with the Camera: Photography and Social Mobility in the Career of Jacob Riis," Afterimage 10 (May 1983): 9-16.

Laura Wexler, Tender Violence: Domestic Visions in an Age of U.S. Imperialism (Chapel Hill: University of North Carolina Press, 2000).

Rebecca Zurier. Art for The Masses: A Radical Magazine and its Graphics (New Haven: Yale University Art Gallery, 1985).

__________, Robert W. Snyder, and Virginia M. Mecklenburg, Metropolitan Lives: The Ashcan Artists and Their New York (New York: W. W. Norton, 1995).


GREAT DEPRESSION AND NEW DEAL

James Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered (Philadelphia: Temple University Press, 1989).

Carl Fleischhauer and Beverly W. Brannan, ed., Documenting America, 1935-1943 (Berkeley: University of California Press, 1988).

Barbara Melosh, Engendering Culture: Manhood and Womanhood in New Deal Public Art and Theater (Washington, DC: Smithsonian Institution Press, 1991).

Paula Rabinowitz. TheyMust Be Represented: The Politics of Documentary (New York: Verso, 1994).

Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America, 1890-1950 (New York: Cambridge University Press, 1989).

William Stott. Documentary Expression and Thirties America (Chicago: University of Chicago Press, 1973).

Charles Wolfe, "The Poetics and Politics of Nonfiction: Documentary Film," in Tino Ballo, ed., Grand Design: Hollywood as a Modern Business Enterprise, 1930-1939 (History of the American Cinema series, New York: Charles Scribnerıs Sons, 1993).


MISCELLANEOUS

Georgia Brady Bumgardner. "George and William Endicott: Commercial Lithography in New York, 1831-51." In Prints and Printmakers of New York State, 1825-1940, 43-65. Edited by David Tatham. Syracuse: Syracuse Univ. Press, 1986.

Joshua Brown, Beyond the Lines: Pictorial Reporting, Everyday Life, and the Crisis of Gilded Age America (University of California Press, 2002).

Gary L. Bunker. "Antebellum Caricature and Womanıs Sphere." Journal of Women's History 3:3 (Winter 1992): 6-43.

Sarah Burns. Inventing the Modern Artist: Art and Culture in Gilded Age America New Haven: Yale University Press, 1996).

Roger Butterfield. "Pictures in the Papers." American Heritage (June 1962): 32-55, 96-100.

Michael L. Carlebach. The Origins of Photojournalism in America (Washington, D.C.: Smithsonian Institution Press, 1992).

Charles Colbert. A Measure of Perfection: Phrenology and the Fine Arts in America (Chapel Hill: University of North Carolina Press, 1997).

Mary Cowling. The Artist as Anthropologist: The Representation of Type and Character in Victorian Art (Cambridge: Cambridge University Press, 1989).

L. Perry Curtis, Jr. Apes and Angels: The Irishman in Victorian Caricature (Washington, D.C.: Smithsonian Institution Press, 1971).

Nancy R. Davison. "E. W. Clay and the American Political Caricature Business." In Prints and Printmakers of New York State, 1825-1940, 91-110. Edited by David Tatham. Syracuse: Syracuse University Press, 1986.

Marianne Doezema. American Realism and the Industrial Age (Bloomington: Indiana University Press for The Cleveland Museum of Art, 1980).

Lee M. Edwards. Domestic Bliss: Family Life in American Painting, 1840-1910 (Yonkers: The Hudson River Museum, 1986).

Roger A. Fischer. Them Damned Pictures: Explorations in American Political Cartoon Art (North Haven: Archon Books, 1996).

William H. Gerdts and Mark Thistlewaite. Grand Illusions: History Painting in America (Fort Worth: Amon Carter Museum, 1988).

John Gladstone. "Working-Class Imagery in Harper's Weekly, 1865-1895," Labor's Heritage 5:1 (Spring 1993): 42-61.

Elliott J. Gorn. "The Wicked World: The National Police Gazette and Gilded Age America," Media Studies Journal 6:1 (Winter 1992): 1-15.

Neil Harris. The Artist in American Society: The Formative Years, 1790-1860 (New York: G. Braziller, 1966).

David P. Jaffee. "An Artisan-Entrepreneur's Portrait of the Industrializing North, 1790-1860." In Essays from the Lowell Conference on Industrial History, 1982 and 1983, 165-84. Edited by Robert Weible (North Andover: Museum of American Textile History, 1985).

Elizabeth Johns. American Genre Painting: The Politics of Everyday Life (New Haven: Yale University Press, 1991).

Malcolm Johnson. David Claypool Johnston: American Graphic Humorist, 1798-1865 (Worcester and Boston: American Antiquarian Society, et al., 1970).

Bryan F. Le Beau. Currier & Ives: America Imagined (Washington, D.C.: Smithsonian Institution Press, 2001).

Peter C. Marzio. The Democratic Art: Pictures for a 19th-Century America (London: Scolar Press, 1980).

David Miller, ed. American Iconology (New Haven: Yale University Press, 1993).

Elizabeth L. O'Leary. At Beck and Call: The Representation of Domestic Servants in Nineteenth-Century American Painting (Washington, D.C.: Smithsonian Institution Press, 1996).

Andrea G. Pearson. "Frank Leslie's Illustrated Newspaper and Harper's Weekly: Innovation and Imitation in Nineteenth-Century American Pictorial Reporting," Journal of Popular Culture 23 (Spring 1990): 81-111.

Gregory M. Pfitzer. Picturing the Past: Illustrated Histories and the Role of Visual Literacy in the American Imagination, 1840-1900 (Washington, D.C.: Smithsonian Institution Press, forthcoming).

Sue Rainey. Creating Picturesque America: Monument to the Natural and Cultural Landscape (Nashville: Vanderbilt University Press, 1994).

Wendy Wick Reaves. "Portraits in Every Parlor." In American Portrait Prints: Proceedings of the Tenth Annual Print Conference, 83-134 (Charlottesville: University Press of Virginia, 1984).

Bernard Reilly, Jr. "Comic Drawing in New York in the 1850s." In Prints and Printmakers of New York State, 1825-1940, 147-62. Edited by David Tatham (Syracuse: Syracuse University Press, 1986).

John W. Reps. Views and Viewmakers of Urban America: Lithographs of Towns and Cities in the United States and Canada, Notes on the Artists and Publishers, and a Union Catalog of their Work, 1825-1925 (Columbia: University of Missouri Press, 1984).

Martha A. Sandweiss, Rick Stewart, and Ben W. Huseman. Eyewitness to War: Prints and Daguerreotypes of the Mexican War, 1846-48 (Washington, D.C.: Smithsonian Institution Press, 1989).

Dan Schiller. "Realism, Photography and Journalistic Objectivity in 19th Century America," Studies in the Anthropology of Visual Communication 4:2 (Winter 1977): 86-98.

Robert J. Scholnick. "Scribner's Monthly and the 'Pictorial Representation of Life and Truth' in Post-Civil War America," American Periodicals 1 (Fall 1991): 46-69.

Allan Sekula. "The Body and the Archive," October 39 (Winter, 1986): 3-64.

James P. Shenton, ed. Free Enterprise Forever! Scientific American in the 19th Century (New York: Images Graphiques, 1977).

John Kuo Wei Tchen. New York before Chinatown: Orientalism and the Shaping of American Culture, 1776-1882 (Baltimore: Johns Hopkins University Press, 1999).

Samuel J. Thomas. "Portraits of a 'Rebel' Priest: Edward McGlynn in Caricature," Journal of American Culture 7 (Winter 1984): 19-32.

Ellen Wiley Todd. The "New Woman" Revised: Painting and Gender Politics on Fourteenth Street (Berkeley: University of California Press, 1993).

Ann Prentice Wagner. "The Graver, the Brush, and the Ruling Machine: The Training of Late-Nineteenth-Century Wood Engravers," Proceedings of the American Antiquarian Society 105:Part 1 (1995): 167-91.

Alan Wallach. Exhibiting Contradiction: Essays on the Art Museum in the United States (Amherst: University of Massachusetts Press, 1998).

Robert E. Weir. Beyond Labor's Veil: The Culture of the Knights of Labor (University Park: Pennsylvania State University Press, 1996).

Peter C. Welsh. "Henry R. Robinson: Printmaker to the Whig Party," New York History 53:1 (January 1972): 25-53.

Richard Samuel West. Satire on Stone: The Political Cartoons of Joseph Keppler (Urbana: University of Illinois Press, 1988).

Julie Wosk. Breaking Frame: Technology and the Visual Arts in the Nineteenth Century (New Brunswick: Rutgers University Press, 1992).

Helena E. Wright. With Pen and Graver: Women Graphic Artists before 1900 (Washington, D.C.: National Museum of American History, Smithsonian Institution, 1995).



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