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Landscape paintings are dominant in nineteenth century American art as the nation expands.
In November 1943, Philip Evergood published an article, “Sure, I’m a Social Painter,” in which he addressed the tendency of artists to brag about themselves and bemoaned the paucity of critics among the large number of artists. While citing the importance of formal elements, he claimed: “all good art throughout the ages has been a social art.
The lithograph and silkscreen print and/or in profile is a highly conceptual and technically masterful art image by Shusaku Arakawa. He used language and symbols simultaneously as image and text so that a viewer is also a reader. The construction of meaning is both achieved and undone in the process of looking, leaving the viewer to ponder the mutability of both language and art.
“Painted after Frederic Edwin Church’s first trip to Ecuador , The Andes of Ecuador combines the scientific and religious concerns of Church’s time in one grand panorama.
These large elaborate neo-classical andirons of wrought iron and silvered and gilded metal each feature a large covered cup-shaped urn with everted and gadrooned rim raised on square plinths that are flanked by gilded griffins. The urns are covered with vertical leafy ornaments. The plinths are supported on wrought-iron double-scrolled feet. The elaborate finial on each urn is composed of twin putti supporting bowls of fruits, including pomegranates, grapes, and squash.