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"In Painting Gender, Constructing Theory, Marcia Brennan examines how Stieglitz and the critics drew on early twentieth-century discourses on sex and the psyche, particularly the theories of Sigmund Freud and Havelock Ellis, to characterize the artworks of the Stieglitz circle. Critics routinely described the often highly abstracted paintings of Georgia O'Keeffe, Arthur Dove, John Marin, Marsden Hartley, and Charles Demuth as transparent displays of the most intimate aspects of the self, taking both subject matter and painterly form to be guided by the artist's own gendered and psychic energies." "Focusing on the key historical criticism and art-works, Brennan shows how the identities of all five Stieglitz circle artists were presented in terms of the masculinity and femininity, and the heterosexuality and homosexuality, thought to be embedded in their work. Brennan also discusses Stieglitz's relation to competing artistic and critical movements, including Thomas Hart Benton's regionalist art and Clement Greenberg's reformulation of formalism."--Jacket.

Aesthetics --- Stieglitz, Alfred --- Gender identity in art. --- Modernism (Art) --- Stieglitz Circle (Group of artists).

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When Logsdon realised that he experienced the same creative joy from farming as he did for writing, he suspected that agriculture itself was a form of art. Thus began his search for the origins of the artistic impulse in the agrarian lifestyle. This book is the culmination of his journey, his friendships with farmers and artists driven by the urge to create.

Arts, American --- Agriculture and the arts. --- Arts, Modern --- Algonquin Round Table --- Catharctic Circle (Group of artists) --- Arts and agriculture --- Arts

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Arts, American --- Modernism (Art) --- Arts, Modern --- Algonquin Round Table --- Catharctic Circle (Group of artists) --- MODERN ARTS --- MODERNISME (ART) --- 20th CENTURY --- ETATS-UNIS

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Visions of Belonging explores how beloved and still-remembered family stories-A Tree Grows in Brooklyn, I Remember Mama, Gentleman's Agreement, Death of a Salesman, Marty, and A Raisin in the Sun-entered the popular imagination and shaped collective dreams in the postwar years and into the 1950's. These stories helped define widely shared conceptions of who counted as representative Americans and who could be recognized as belonging. The book listens in as white and black authors and directors, readers and viewers reveal divergent, emotionally textured, and politically charged social visions. Their diverse perspectives provide a point of entry into an extraordinary time when the possibilities for social transformation seemed boundless. But changes were also fiercely contested, especially as the war's culture of unity receded in the resurgence of cold war anticommunism, and demands for racial equality were met with intensifying white resistance. Judith E. Smith traces the cultural trajectory of these family stories, as they circulated widely in bestselling paperbacks, hit movies, and popular drama on stage, radio, and television. Visions of Belonging provides unusually close access to a vibrant conversation among white and black Americans about the boundaries between public life and family matters and the meanings of race and ethnicity. Would the new appearance of white working class ethnic characters expand Americans' understanding of democracy? Would these stories challenge the color line? How could these stories simultaneously show that black families belonged to the larger "family" of the nation while also representing the forms of danger and discriminations that excluded them from full citizenship? In the 1940's, war-driven challenges to racial and ethnic borderlines encouraged hesitant trespass against older notions of "normal." But by the end of the 1950's, the cold war cultural atmosphere discouraged probing of racial and social inequality and ultimately turned family stories into a comforting retreat from politics. The book crosses disciplinary boundaries, suggesting a novel method for cultural history by probing the social history of literary, dramatic, and cinematic texts. Smith's innovative use of archival research sets authorial intent next to audience reception to show how both contribute to shaping the contested meanings of American belonging.

Arts, American --- Families --- Popular culture --- Arts, Modern --- Algonquin Round Table --- Catharctic Circle (Group of artists) --- History --- United States --- Social life and customs

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Stieglitz Circle (Group of artists) --- Avant-garde (Aesthetics) --- Art, American --- Cercle de Stieglitz (Groupe d'artistes) --- Avant-garde (Esthétique) --- Art américain --- Stieglitz, Alfred, --- Art patronage. --- Stieglitz Circle (Group of artists). --- CDL --- 77.071 STIEGLITZ --- Avant-garde (Esthétique) --- Art américain --- Stieglitz Group (Group of artists) --- Art, Modern --- Aesthetics --- Modernism (Art) --- Chicago Imagists (Group of artists) --- Figuration libre (Group of artists) --- Fort Worth Circle (Group of artists) --- Hairy Who (Group of artists) --- Monster Roster (Group of artists) --- Philadelphia Ten (Group of artists) --- Pictures Generation (Group of artists) --- O'Keeffe, Georgia, --- Stieglitz, Alfred