![]()
|
|
REVOLUTION SLAVERY, SECTIONAL CONFLICT AND RECONSTRUCTION POSTBELLUM WEST TURN OF THE CENTURY CITY GREAT DEPRESSION AND NEW DEAL MISCELLANEOUS
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).
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.
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).
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).
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 LifeA 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).
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).
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).
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).
|