Katherine Roeder – författare

A focused investigation of Whistler’s watercolors that introduces readers to a rarely seen aspect of the artist’s creative outputIn the 1880s, James McNeill Whistler (1834–1903) reinvented himself through the medium of watercolor. At the time, excellence in watercolor was most often associated with British artists, and most notably with the work of J. M. W. Turner (1775–1851). Whistler’s embrace of watercolor allowed the expatriate artist to present himself as an heir to the great Turner, while at the same time creating easily portable works that could supply an American market and, the artist hoped, help secure his art-historical legacy in his home country. Indeed, it was the American Gilded Age industrialist Charles Lang Freer who would amass the largest collection of Whistler’s watercolors, eventually bequeathing them to the Smithsonian in 1906.This publication is the first systematic study of Freer’s amazing treasure trove of more than 50 watercolors by Whistler and includes figures, landscapes, nocturnes, and interiors. Providing both an art-historical context that looks into the contemporary reception of the works, as well as rigorous scientific analysis of Whistler’s materials and techniques, this volume offers a groundbreaking look into an overlooked segment of the celebrated artist’s oeuvre. Distributed for Freer|Sackler, SmithsonianExhibition Schedule:Freer Gallery of Art, Washington, DC(05/18/19–10/06/19)

Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay''s interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early twentieth-century urban America. McCay''s role as a pioneer of early comics has been documented; yet, no existing study approaches him and his work from an art historical perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. From circus posters and vaudeville skits to department store window displays and amusement park rides, McCay found fantastical inspiration in New York City''s burgeoning entertainment and retail districts. Wide Awake in Slumberland connects McCay''s work to relevant children''s literature, advertising, architecture, and motion pictures in order to demonstrate the artist''s sophisticated blending and remixing of multiple forms from mass culture. Studying this interconnection in McCay''s work and, by extension, the work of other early twentieth-century cartoonists, Roeder traces the web of relationships connecting fantasy, leisure, and consumption. Readings of McCay''s drawings and the eighty-one black-and-white and color illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.

Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay''s interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early twentieth-century urban America. McCay''s role as a pioneer of early comics has been documented; yet, no existing study approaches him and his work from an art historical perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. From circus posters and vaudeville skits to department store window displays and amusement park rides, McCay found fantastical inspiration in New York City''s burgeoning entertainment and retail districts. Wide Awake in Slumberland connects McCay''s work to relevant children''s literature, advertising, architecture, and motion pictures in order to demonstrate the artist''s sophisticated blending and remixing of multiple forms from mass culture. Studying this interconnection in McCay''s work and, by extension, the work of other early twentieth-century cartoonists, Roeder traces the web of relationships connecting fantasy, leisure, and consumption. Readings of McCay''s drawings and the eighty-one black-and-white and color illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.