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American Realism, by Edward Lucie-Smith
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This lavishly illustrated book explores the tremendous scope, richness, toughness sensibility and liveliness of the American realist tradition. Sixteen varied sections discuss and display the finest and most important work of different artists, groups, schools and periods - including American Impressionism, The Ashcan School, Precisionism, American Scene Painting, Edward Hopper, Urban realism, Photorealism and Postmodern realism today - and provide convincing proof that the American realist legacy occupies an unparalleled position in the world art of the past one hundred years. In this important critical synthesis, Edward Lucie-Smith discusses the work of the pioneering masters of American realism, such as Thomas Etkins, Mary Cassatt, Charles Sheeler, Thomas Hart Benton, Georgia O'Keesse and Andrew Wyeth. He adds a major new dimension in his examination of the work of contemporary realist painters: those currently acknowledged as major figures today, such as Wayne Thiebaud and Leon Golub, but also those whose reputations and contribution have only fairly recently been fully appreciated, among them Isabel Bishop, Alice Neel and Fairfield Porter, as well as younger artists, such as Eric Fischl and Jeff Koons, who have achieved star status as practitioners of this innovative tradition. The book thus carries the story of American realism right up to the present moment, and shows how it continues to flourish in the United States today as strongly as it has in the past. A magnificent volume, with over one hundred colour plates, American Realism both celebrates and reveals the strengths of a great American legacy.
- Sales Rank: #2351406 in Books
- Published on: 2002-04-01
- Original language: English
- Number of items: 1
- Dimensions: .67" h x 9.50" w x 11.08" l, 2.86 pounds
- Binding: Paperback
- 240 pages
Amazon.com Review
American Realism is Edward Lucie-Smith's eloquent and interesting discourse tracing the progress of American realist art from the colonial period through postmodernism. It features a generous 250 illustrations and 115 gorgeous, full-color plates. Lucie-Smith's underlying argument seems to be that realism more accurately reveals the American character than does abstract expressionism or minimalism. This premise is developed by examining specific paintings and placing them in a cultural and historical context. Of particular interest are the sections on Thomas Eakins, Thomas Hart Benton, Ben Shahn, Philip Pearlstein, Andy Warhol, and Eric Fischl. --Madeline Crowley
From Library Journal
Realism is a means of examining, interpreting, and expressing our experience of the world around us. Lucie-Smith, a well-known writer on contemporary art, has gathered a wealth of images that traces the development of what he feels is the ever-present, deeply rooted, and uniquely American pragmatic confrontation with the experience of everyday life. The need to define oneself in terms of social, intellectual, and physical settings has always been the impetus of creativity, and whether in the serene oarsman of an Eakins, the elegant lady of a Sargent, the lonely figure of a Hopper, the exaggerated sailor of a Cadmus, or the more recent, supple if unsubtle Duane Hanson sculptures and Chuck Close photomontage portraits, it is a strong and flourishing form of American identification. An interesting overview that covers much of what is familiar within a slightly different context and point of view.
Paula Frosch, Met-ropolitan Museum of Art Lib., New York
Copyright 1994 Reed Business Information, Inc.
From Booklist
Lucie-Smith, author, most recently, of Race, Sex, and Gender in Contemporary Art, excels at making new connections and expressing fresh interpretations. Here he focuses on the "realist impulse," an essential ingredient in American art from the days of George Caleb Bingham to those of Philip Pearlstein. American realism includes an intriguingly disparate variety of paintings because realism's content and style are always "qualified by the artist's conception of what is happening, as distinct from his perception of it." Lucie-Smith examines 16 distinct phases of Amercian realism, beginning with the quasi-scientific work of Thomas Eakins and moving through impressionistic realism to the era of the Ashcan school. As we follow Lucie-Smith to the work of Edward Hopper and the urban realism of such artists as Reginald Marsh, we begin to see that American realism moves in a grand cycle from gritty and disturbing subject matter back to more comforting themes, such as the domestic contentment of Fairfield Porter and the irony of pop art. Not only does Lucie-Smith include all the key players, but he also reminds us of some remarkable figurative artists, such as George Tooker, whose art extends and challenges the meaning of realism. Donna Seaman
Most helpful customer reviews
14 of 15 people found the following review helpful.
The Gold Standard on American Realism Painting
By Grady Harp
Edward Lucie-Smith's inimitable style of writing endears him to his readers who might just be buying art books for the pictures - the ubiquitous coffeetable book. His approach to his subject (and his catalogue of published books on art is staggering in scope) is always 'Art first, Opinion second', which is another way of saying that he lets the work describe itself in the sensitive way in which he constructs his books.
AMERICAN REALISM is as much a sociological study of the American progress as it is a matrix to etch images that accompany that historical trek. In his fine introduction he sets the tone for the journey, then addresses early American art and begins his intensive presentation with the works of Thomas Eakins and Winslow Homer. Subsequent chapters find new insights into American Still Life, the Impressists in America (Cassatt, Sargent, Chase, Hassam), then proceeds on through the Ashcan School, Regionalism (one of the most creative chapters), through the Urban and Social Realism of the likes of Hopper, Marsh, Soyer and Shahn. Here his style of writing diverges as he addresses the Revolution in American Art, or, what has America made that is uniquely her own. Of great interest here is his emphasis on painters such as Paul Cadmus, Philip Guston, Jared French, George Tooker, Andrew Wyeth, bringing to their works a sensitivity rarely written prior to this book. After Abstraction he once again returns to representational art and brings to life Fairfield Porter, Neil Welliver, Jane Freilicher, Larry Rivers, Richard Diebenkorn,Wayne Thiebaud, Chuck Close, John Nava, Alice Neel, Gregory Gillespie, Martha Mayer Erlebacher, Eric Fischl, Leon Golub, and yes, even Jeff Koons.
The sparkling and informative dialogue of this book is enhanced by superb reproductions of paintings in both color and black and white. This book is somewhat dated now, having been published in 1994 and newly released in paperback. One hopes that Lucie-Smith will write a sequel to this volume and bring the public up to date with the many artists who belong in this company, artists - like Wes Hempel, Gerard Huber, Michael Workman, Wade Reynolds, James Doolin, Willaim Fogg, Robert Peterson, Daniel Sprick..........and of course countless others. A 'must have' for any solid library.
9 of 9 people found the following review helpful.
A much broader topic than one would have suspected
By Craig Matteson
One of the myths of "realism" is that it is somehow less challenging than non-representational art. This terrific book takes on the broad sweep of American Realism from the Civil War through 1990. The book is full of wonderful images from so many different styles that the reader can begin to see that what is called realistic or representational has its own symbolic language and is full of its own abstractions and distortions of trying to represent aspects of our four dimensional world on a two dimensional surface.
The book is full of paintings of all types and styles within this broad topic. There are also photographs of related sculpture and even photographs that are themselves the work of art. The images contained in the book range from the sublime, to the odd and strange, through the raunchy and vulgar.
The text is lively, insightful, and adds a great deal to the reader's understanding of the images included.
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