A Persistent Vision: Art of the Reservation Days

Conn, Richard

Arts & Photography

Denver Art Museum

Catalog for the exhibition of Navajo weaving that ran through 4 Oct. 1992 in Denver. It will travel to Phoenix, DC, Omaha, and NYC during 1994 and 1995. The show comprises the Gloria F. Ross Collection of Contemporary Navajo Weaving of the Denver Art Museum. Fine color photos of the work with biographical sketches and comments of the weavers. Annotation copyright Book News, Inc. Portland, Or.

Reflections of the Weaver's World: The Gloria F. Ross Collection of Contemporary Navajo Weaving

Hedlund, Ann Lane

Collections, Catalogs & Exhibitions

This volume was produced by the Institute of Western Art of the Denver Art Museum as part of an ongoing series on artists and collections of the western US. Ann Scarlett Daley, a curator at the Institute, has written a well-researched introduction describing William and Dorothy Harmsen the founders of the Jolly Rancher Candy Company their careers, and eventual activities as art collectors. The selected works from their collection includes paintings that depict the landscape and people of the West, Native American subjects and portraits, and works by Native Americans. Not indexed. Distributed by the University of Washington Press. Annotation ©2004 Book News, Inc., Portland, OR (booknews.com)

Sweet on the West: How Candy Built a Colorado Treasure (Western Passages)

History

Americas

Inspiring Impressionism explores links between Impressionists and the major European art-historical movements that came before them, demonstrating how often beneath the Impressionists’ commitment to capturing contemporary life there lay a deep exploration of the art of the past. Presenting Impressionist works by artists including Manet, Monet, Degas, Bazille, Cassatt, and Cézanne alongside those of Raphael, El Greco, Rubens, Velázquez, and others, the book shows that while the Impressionists moved toward modernity and spontaneity, they remained conscious of and interested in the traditions, techniques, and subject matter of their predecessors.
Essays by leading scholars reveal the ways Impressionists drew inspiration from earlier artists from periods ranging from the Italian Renaissance through the early 19th-century Classical and Romantic traditions. A detailed chronology and fascinating comparisons of landscapes, portraits, nudes, still lifes, and genre paintings provide readers with new opportunities to understand the work of both the Impressionists and Old Masters.

Inspiring Impressionism: The Impressionists and the Art of the Past

Michael Clarke

Richard Rand

John House

John Collins

Xavier Bray

Frances Jowell

Lesley Stevenson

History & Criticism

A new look at French Orientalism's influence on the art of the American West, showing how aesthetics and ideology jointly informed approaches to colonialism and expansion during the nineteenth and early twentieth centuries in both France and the United States From the 1830s to the 1920s, American artists such as Alfred Jacob Miller, George de Forest Brush, Joseph H. Sharp, Bert Geer Phillips, and Ernest Blumenschein traveled to France to study their craft. Returning from abroad, these artists looked to the American West in search of new subjects. Influenced by French Orientalists such as Eugène Delacroix, Eugène Fromentin, and Jean-Léon Gérôme, the American artists applied an Orientalist aesthetic and ideology to their paintings, sculptures, and drawings, while at the same time creating works that appeared uniquely American. Exploring the ways that the visual tropes and knowledge structures of Orientalism influenced French and American colonialism and expansion, this volume considers the impact of French artistic techniques and tropes on the development of western American art. Other themes include the symbolism of desert landscapes and exotic animals, the role of world's fairs in disseminating Orientalist spectacles and stereotypes, and the importance of artistic pilgrimage to the deserts of North Africa and the American Southwest. Historical and contemporary perspectives of Indigenous peoples of North America, Muslim Americans, and Arab Americans challenge, negotiate, and provide alternative perspectives to the artworks. <div> Distributed for the Denver Art Museum</div> <div> Exhibition Schedule: Denver Art Museum (March 5-May 28, 2023)</div>

Near East to Far West: Fictions of French and American Colonialism

Henneman, Jennifer R.

To twenty-first-century observers, artistic training may seem an unnecessary frill in a soldier’s education. But during the nineteenth and even the twentieth centuries, military officers were expected to sketch battlefields and design fortifications. Officers of the Army Corps of Topographical Engineers, which organized exploring expeditions, were asked to return with the information needed to map the expanding American West. Thus, the Military Academy at West Point incorporated art into its curriculum within a year after its creation in 1802.
West Point Points West celebrates the confluence of military mission and artistic pursuit. Five distinguished scholars—B. Byron Price, David Reel, John Pultz, Roger Echo-Hawk, and Joan Carpenter Troccoli—offer varying perspectives on the seminal role played by West Point and the U.S. Army in the development of western American art.

West Point Points West (Western Passages)

Museum, Denver Art

Thoughtful essays on the status of western American art Memorial to a passing era? Mistress to history? Illustration of popular legend? Where is the art in traditional narrative western art? Is it kitsch or Kunst? In this volume, seven distinguished specialists on art and popular culture―Brian W. Dippie, Erika Doss, Peter H. Hassrick, Patricia Limerick, Angela Miller, Martha A. Sandweiss, and William H. Truettner―survey the terrain of western art in the twenty-first century, tracing and refining its boundaries in the areas of aesthetics and national identity. Their sharp-eyed observations support a newly emerging history of western art that places it in a social, psychological, and political―as well as aesthetic―context. The result is a refreshing, vigorous, and substantial contribution to American art history.

Redrawing Boundaries: Perspectives on Western American Art

Because western art is by definition topical, it is also by necessity representational, and often narrative. Western artists must therefore rely on a certain degree of realism to express themselves visually. While this tendency toward realism is out of keeping with abstract impressionism, which dominated the art world in the latter half of the twentieth century, it resonates positively with today’s audiences.
Since the early 1990s, the Denver Art Museum has collected and exhibited the works of living American artists who celebrate western themes through representational forms of creative expression. Heart of the West pays tribute to those artists, in particular to the remarkable George Carlson. Their images embody the essence of the evolving American West.

Heart of the West: New Painting and Sculpture of the American West (Western Passages)

In 2005, the Denver Art Museum hosted a symposium in conjunction with the exhibition Tiwanaku: Ancestors of the Inca. An international array of scholars of Tiwanaku, Wari, and Inca art and archaeology presented results of the latest research conducted in Bolivia, Chile, and Peru. This copiously illustrated volume, edited by Margaret Young-Sánchez of the Denver Art Museum, presents revised and amplified papers from the symposium.
Essays by archaeologists Alexei Vranich and Leonardo Benitez (both University of Pennsylvania) describe what their excavation and astronomical research have yielded at the site of Tiwanaku, in Bolivia. Georgia DeHavenon (Brooklyn Museum) surveys historical research and publications on Tiwanaku and its monuments. Christiane Clados (Free University of Berlin) and William Conklin (Field Museum, Textile Museum) each analyze styles and modes of representation in Tiwanaku art and arrive at provocative conclusions. R. Tom Zuidema reconsiders Tiwanaku iconography and sculptural composition, discerning complex calendrical information. Through a detailed analysis of Tiwanaku iconography, Krysztof Makowski (Pontifical Catholic University of Peru) examines the nature of Tiwanaku religious thought. Archaeologists and iconographers William Isbell (State University of New York, Binghamton) and Patricia Knobloch (Institute of Andean Studies) thoroughly discuss what they term the Southern Andean Interaction Sphere, which encompasses Tiwanaku, Wari, Pucara, and Atacama traditions. P. Ryan Williams (Field Museum) discusses the issue of identity and its expression at the territorial interface between the Tiwanaku and Wari states. Wari tunics and their imagery are examined by Susan Bergh (Cleveland Museum of Art), yielding evidence of ranking. And John Hoopes (University of Kansas) discusses both archaeological and ethnohistoric evidence of links between ancient Tiwanaku and the later Inca.
Bringing together current research on Pucara, Tiwanaku, Wari, and Inca art and archaeology, this volume will be an important resource for scholars and enthusiasts of ancient South America.

Tiwanaku: Papers from the 2005 Mayer Center Symposium at the Denver Art Museum

The Denver Art Museum held a symposium in 2006 to examine a little-known aspect of globalization in the early modern era. Specialists in the arts and history of Asia and Latin America came from Europe, Asia, and the Americas to present recent research on connections between the two areas. Edited by Denver Art Museum curators Donna Pierce and Ronald Otsuka, this volume presents revised and expanded versions of the papers presented at the symposium.
Gustavo Curiel opens the volume with a discussion of the reception and re-interpretation of Asian motifs in the various art forms of viceregal New Spain (Mex-ico). Essays by Etsuko Rodríguez and George Kuwayama present detailed analyses of Chinese porcelains excavated in Mexico and Peru that were imported via the Manila galleon trade. Roxanna Brown uses new evidence from shipwrecks in Southeast Asia to document the China-Manila branch of the trade network. Jorge Rivas looks at colonial furniture made in northern South America using Asian-inspired techniques and motifs. Sofía Sanabrais describes the adaptation of the Asian folding screen by Mexican artists. Meiko Nagashima addresses the exportation of Japanese lacquer traditions to Spanish America and Spain. Sonia Ocaña analyzes Japanese-inspired elements in shell-inlaid frames made in Mexico. Marjorie Trusted investigates the relationship to Asian models of Baroque ivory sculptures produced in the Americas; Abby Sue Fisher investigates the impact of Asian trade textiles on clothing in viceregal Mexico; and Clara Bargellini documents Asian trade goods at the missions of northern Mexico.
An interdisciplinary study bringing together scholars from two fields of art and addressing a variety of artistic media, this beautifully illustrated volume will be an important resource for scholars and enthusiasts of Asian and Latin American art and history.

Asia and Spanish America: Trans-Pacific Artistic and Cultural Exchange, 1500–1850

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Books by Denver Art Museum