In the twenty-five years since The Kentucky Painter from the Frontier Era to the Great War opened at the University of Kentucky Art Museum, interest in the topic has steadily increased. This volume is a survey of the major painters of note, organized by chronological and thematic topics. Readers will recognize some of the familiar names here, especially Matthew Harris Jouett and Paul Sawyier. But they may be surprised by the work of little-known but accomplished artists whose work merits serious consideration as part of the astonishingly vibrant artistic tradition in Kentucky. 
For a place of fairly recent frontier origins, a small populace, and extremely disparate regions, the Commonwealth has certainly had--and continues to have--its fair share of proficient artists. The artists presented here were not "regional" painters working in isolation. Many were quite well trained. Both Joseph Henry Bush and Oliver Frazer studied with Thomas Sully in Philadelphia. Paul Plaschke studied with George Luks. Dixie Selden, a student of Frank Duveneck's, also pursued study in the atelier of William Merritt Chase in New York, as did Sawyier. Several other artists studied abroad, including Duveneck, who received instruction in Munich, and William Edward West, who continued his studies at the academy in Florence, Italy, after his work with Sully. Carl Christian Brenner was born and raised in Germany and attended the Munich Royal Academy of Art, but he was also influenced by the Hudson River School of landscape painters. Hattie Hutchcraft Hill journeyed from Paris, Kentucky, to Paris, France, to study at the renowned Academie Julian. This book celebrates their achievements even as it seeks to nurture an ongoing interest in Kentucky's art history.

Kentucky: The Master Painters from the Frontier Era to the Great Depression

Arts & Photography

Pennington, Estill, Curtis

History & Criticism

Univ of South Carolina Pr

From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802–1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most extensive holdings available for study in the region. This volume begins with a cultural chronology―a backdrop of critical events that shaped the taste and times of both artist and sitter. The chronology is followed by brief biographies of the artists, both legends and recent discoveries, illustrated by their work. Matthew Harris Jouett, who studied with Gilbert Stuart, William Edward West, who painted Lord Byron, and Frank Duveneck are well-known; far less so are James T. Poindexter, who painted charming children's portraits in western Kentucky, Reason Croft, a recently discovered itinerant in the Louisville area, and Oliver Frazer, the last resident portrait artist in Lexington during the romantic era. Pennington's study offers a captivating history of portraiture not only as a cherished possession but also representing a period of cultural and artistic transitions in the history of the Ohio River Valley region.

Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802-1920

University Press of Kentucky

A Southern Collection

A Southern Collection presents select masterworks from the permanent collection of the Morris Museum of Art on the occasion of the institution's inaugural exhibition. Drawn from a comprehensive survey collection of painting in the South from the late eighteenth century to the present day, the museum's opening exhibit explores an artistic terrain as rich and diverse as the South itself, arranged in categories that reflect critical chronological developments in the art world. A survey of painting activity in the South begins with the travels of itinerant portrait artists working prior to the Civil War. At the same time, landscape painting encompasses a sensitive response to the swamps, bayous and fertile fields of the South. Late in the nineteenth century strong and vivid genre painting competes with the nostalgic effects realized by Southern impressionists, whose shimmering, liquid images are invested with an elusive spirit of place. In this century, those strains of realism and naturalism that characterize the classic body of Southern writing appear in the representational art of painters who defied the modern abstract dictum. And finally, the exciting, compelling works of a current generation of both self-taught artists and sophisticated contemporary painters complete this fascinating, though sometimes neglected, chapter in American art history.

University of Georgia Press

A Southern Collection presents select masterworks from the permanent collection of the Morris Museum of Art on the occasion of the institution's inaugural exhibition. Drawn from a comprehensive survey collection of painting in the South from the late eighteenth century to the present day, the museum's opening exhibit explores an artistic terrain as rich and diverse as the South itself, arranged in categories that reflect critical chronological developments in the art world.
A survey of painting activity in the South begins with the travels of itinerant portrait artists working prior to the Civil War. At the same time, landscape painting encompasses a sensitive response to the swamps, bayous and fertile fields of the South. Late in the nineteenth century strong and vivid genre painting competes with the nostalgic effects realized by Southern impressionists, whose shimmering, liquid images are invested with an elusive spirit of place. In this century, those strains of realism and naturalism that characterize the classic body of Southern writing appear in the representational art of painters who defied the modern abstract dictum.
And finally, the exciting, compelling works of a current generation of both self-taught artists and sophisticated contemporary painters complete this fascinating, though sometimes neglected, chapter in American art history.

Draws together prevailing ideas on southern art, lifestyle, and literature to capture the spirit of a place.

Look Away: Reality and Sentiment in Southern Art

Saraland Press / Peachtree Publishers

This book presents select masterworks from the permanent collection of the Morris Museum of Art on the occasion of the institutions inaugural exhibition.

Univ of Georgia Pr

Morris Museum of Art

40 pages, catalog of an exhibit of mostly pastel and charcoal drawings by Will Henry Stevens, color illustrations

Will Henry Stevens, 1881-1949: An eye transformed, a hand transforming--

John Bodeker Savage, 1928-1986: A Georgia painter rediscovered

An extensive study of Everett D. B. Julio's painting The Last Meeting of Lee and Jackson.

The Last Meeting's Lost Cause

Saraland Pr/Robert m Hicklin Jr inc

See the best price to sell, buy, or rent books by Pennington, Estill, Curtis. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Pennington, Estill, Curtis

See the best price to sell, buy, or rent books by Pennington, Estill, Curtis. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Kentucky: The Master Painters from the Frontier Era to the Great Depression

Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802-1920

A Southern Collection

A Southern Collection

Look Away: Reality and Sentiment in Southern Art

A Southern Collection

A Southern Collection

Will Henry Stevens, 1881-1949: An eye transformed, a hand transforming--

John Bodeker Savage, 1928-1986: A Georgia painter rediscovered

The Last Meeting's Lost Cause