Katherine Manthorne – författare

Between the 1890s and the 1930s, movie going became an established feature of everyday life across America. Movies constituted an enormous visual data bank and changed the way artist and public alike interpreted images. This book explores modern painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War II, when both the art world and the film industry changed substantially. Artists were watching movies, filmmakers studied fine arts; the membrane between media was porous, allowing for fluid exchange. Each chapter focuses on a suite of films and paintings, broken down into facets and then reassembled to elucidate the distinctive art–film nexus at successive historic moments.

Following the U.S.-Mexican War (1846-1848), lands that had for centuries belonged to New Spain, and later to Mexico, were transformed into the thirty-first state in the United States. This process was facilitated by visual artists, who forged distinct pictorial motifs and symbols to establish the state's new identity. This collective cultural inheritance of the Spanish and Mexican periods forms a central current of California history but has been only sparingly studied by cultural and art historians. California Mexicana focuses for the first time on the range and vitality of artistic traditions growing out of the unique amalgam of Mexican and American culture that evolved in Southern California from 1820 through 1930. A study of these early regional manifestations provides the essential matrix out of which emerge later art and cultural issues. Featuring painters, printmakers, photographers, and mapmakers from both sides of the border, this collection demonstrates how they made the Mexican presence visible in their art.This beautifully illustrated catalogue addresses two key areas of inquiry: how Mexico became California, and how the visual arts reflected the shifting identity that grew out of that transformation. Published in association with the Laguna Art Museum, and as part of the Getty's Pacific Standard Time: LA/LA. Exhibition dates: Laguna Art Museum: October 15, 2017-January 14, 2018

Eliza Pratt Greatorex (1819–1897) was America’s most famous woman artist in the mid-nineteenth century, but today she is all but forgotten. Beginning with her Irish roots, this biography brings her art and life back into focus. Breaking conventions for female artists at that time, Greatorex specialized in landscapes and streetscapes, traveling from the Hudson River to the Colorado Rockies and across Europe and North Africa. Her crowning achievement, a monumental tome of drawings and narratives titled Old New York, awakened the public to the destruction of the city’s architectural heritage during the post–Civil War era. Exploring Greatorex’s fierce ambition and creative path, Katherine Manthorne reveals how her success at forging an independent career in a male-dominated world shaped American gender politics, visual culture, and urban consciousness.

Between the 1890s and the 1930s, movie going became an established feature of everyday life across America. Movies constituted an enormous visual data bank and changed the way artist and public alike interpreted images. This book explores modern painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War II, when both the art world and the film industry changed substantially. Artists were watching movies, filmmakers studied fine arts; the membrane between media was porous, allowing for fluid exchange. Each chapter focuses on a suite of films and paintings, broken down into facets and then reassembled to elucidate the distinctive art–film nexus at successive historic moments.

Fidelia Bridges (1834-1923) painted pictures that critics praised for their ability to exude the fragrance of field flowers and glow with the plumage of birds. Raised in Salem and long residing in Connecticut, she maintained a studio in New York City, where she exhibited her art for over forty years at the National Academy, American Watercolor Society and other prestigious venues. Transforming flower painting from a domestic outlet for female amateurs to a marketable commodity for professionals, she never wavered in her conviction that women had the right to shape independent careers on their own terms. She delineated both cultivated flowers and clumps of weeds with an intensity of focus unmatched by any other artist of her era. Often, she combined plants with local birds to convey a sophisticated understanding of their environmental interaction that encouraged others to appreciate and conserve nature. She made an extended European tour in the 1860s and regular trips to Great Britain in later years but preferred home nature.Assembling a cross-section of her stunning oil paintings, watercolours, chromolithographs and illustrated volumes for the first time, and analysing them against letters, diaries and periodical reviews, Fidelia Bridges combines a recovery of the artist’s biography with close readings of her artworks. Living an outwardly conventional life, she embraced the bicycle and later the automobile as vehicles of female liberation, cultivated her garden with the skill of a horticulturalist, and left a lasting pictorial legacy to be found in US public museums and private collections nationwide.

In the 19th century, European and North American travelers illustrated narratives of their explorations in the New World that were published in Europe. Europeans imagined the tropics as a site for cultural imperialism and fantasies of self-realization. Traveler artists often authenticated this perception by presenting the landscape as an enchanted land. Later in the century, native artists began to pick up the European landscape tradition and reflect on their own culture through a different lens. Traveler Artists contributes new scholarship to this burgeoning field and offers original research on 52 artworks by such key figures as Frans Post, Frederick Edwin Church, José María Velasco and Auguste Morisot, many of which are reproduced here for the first time.