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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.
Each one of this pair of massive silvered andirons of inverted baluster form with bold gadrooning is supported on two legs curled inward displaying low-relief Renaissance strap work ornament and sitting atop wide, boldly gadrooned and slightly domed feet. Below each urn is an irregularly shaped plate with scrolled ornament. The large finials above the baluster-shaped urns each display four segments separated by rope ornament.