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<p>List of Figures xi</p> <p>Notes on Contributors xvii</p> <p>Acknowledgments xxiii</p> <p>Introduction: American Art History Now: A Snapshot 1<br /><i>John Davis, Jennifer A. Greenhill, and Jason D. LaFountain</i></p> <p><b>Part I Writing American Art History 13</b></p> <p>Dialogue 15</p> <p>1 A Conversation Missed: Toward a Historical Understanding of the Americanist/Modernist Divide 17<br /><i>Joshua Shannon and Jason Weems</i></p> <p>2 Response: Setting the Roundtable, or, Prospects for Dialogue between Americanists and Modernists 34<br /><i>Jennifer L. Roberts</i></p> <p>3 A Time and a Place: Rethinking Race in American Art History 49<br /><i>Tanya Sheehan</i></p> <p>Dialogue 69</p> <p>4 On the Social History of American Art 71<br /><i>Alan Wallach</i></p> <p>5 Response: Our Cause Is What? 85<br /><i>Robin Kelsey</i></p> <p>6 The Maker’s Share: Tools for the Study of Process in American Art 95<br /><i>Ethan W. Lasser</i></p> <p>Dialogue 111</p> <p>7 The Problem with Close Looking 113<br /><i>Martin A. Berger</i></p> <p>8 Response: Look Away 128<br /><i>Jennifer A. Greenhill</i></p> <p>9 Looking for Thomas Eakins: The Lure of the Archive and the Object 146<br /><i>Kathleen A. Foster</i></p> <p>Dialogue 165</p> <p>10 The Challenge of Contemporaneity, or, Thoughts on Art as Culture 167<br /><i>Rachael Z. DeLue</i></p> <p>11 Response: Writing History, Reading Art 183<br /><i>Bryan Wolf</i></p> <p><b>Part II Geographies: Rethinking Americanness 191</b></p> <p>12 Teaching Across the Borders of North American Art History 193<br /><i>Wendy Bellion and Mónica Domínguez Torres</i></p> <p>13 An American Architecture? 211<br /><i>Dell Upton</i></p> <p>14 The Pacific World and American Art History 228<br /><i>J.M. Mancini</i></p> <p>15 “Home” and “Homeless” in Art between the Wars 246<br /><i>Angela Miller</i></p> <p>16 Pueblo Painting in 1932: Folding Narratives of Native Art into American Art History 264<br /><i>Jessica L. Horton and Janet Catherine Berlo</i></p> <p>17 US American Art in the Americas 281<br /><i>Mary K. Coffey</i></p> <p>18 Geography Lessons: Canadian Notes on American Art History 299<br /><i>Frances K. Pohl</i></p> <p>19 Only in America: Exceptionalism, Nationalism, Provincialism 317<br /><i>John Davis</i></p> <p>20 Monolingualism, Multilingualism, and the Study of American Art 336<br /><i>Jason D. LaFountain</i></p> <p><b>Part III Subjectivities 357</b></p> <p>21 Painters and Status in Colony and Early Nation 359<br /><i>Susan Rather</i></p> <p>22 Pantaloons vs. Petticoats: Gender and Artistic Identity in Antebellum America 378<br /><i>Sarah Burns</i></p> <p>23 Male or Man?: The Politics of Emancipation in the Neoclassical Imaginary 395<br /><i>Charmaine A. Nelson</i></p> <p>24 Drawing Boundaries, Crossing Borders: Trespassing and Identity in American Art 414<br /><i>Randall R. Griffey</i></p> <p>25 Lookout: On Queer American Art and History 433<br /><i>Richard Meyer</i></p> <p>26 From Nature to Ecology: The Emergence of Ecocritical Art History 447<br /><i>Alan C. Braddock</i></p> <p>27 Art History as Collage: A Personal Approach 468<br /><i>David M. Lubin</i></p> <p><b>Part IV Art and Public Culture 487</b></p> <p>28 Material Religion in Early America 489<br /><i>Louis P. Nelson</i></p> <p>29 Issues in Early Mass Visual Culture 507<br /><i>Michael Leja</i></p> <p>30 Patrons, Collectors, and Markets 525<br /><i>John Ott</i></p> <p>31 Historicism in the American Built Environment 544<br /><i>Kevin D. Murphy</i></p> <p>32 The Painting of Urban Life, 1880–1930 562<br /><i>David Peters Corbett</i></p> <p>33 Photography and Opium in a Nineteenth-Century Port City 581<br /><i>Anthony W. Lee</i></p> <p>34 Value in the Vernacular 599<br /><i>Leo G. Mazow</i></p> <p>35 Realism under Duress: The 1930s 617<br /><i>Andrew Hemingway</i></p> <p>Index 637</p>

<p>"Art historians will greet this stimulating series of companions to art history, of which this volume is the eighth, with enthusiasm." (<i>Reference Reviews,</i> May 2016)</p>

<b>John Davis</b> is Alice Pratt Brown Professor of Art at Smith College. His most recent book (co-authored with Sarah Burns) is <i>American Art to 1900: A Documentary History</i> (2009). <br /> <br /> <b>Jennifer A. Greenhill</b> is Associate Professor of Art History, Criticism and Interpretive Theory at the University of Illinois, Urbana-Champaign. She is the author of <i>Playing</i> <i>It Straight: Art and Humor in the Gilded Age</i> (2012).<br /> <br /> <b>Jason D. LaFountain</b> is Instructor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago.

<i>A Companion to American Art</i> presents a comprehensive exploration of the methodology, historiography, and current state of the field of American art history. Featuring 35 newly-commissioned essays by leading scholars, readings address both canonical and lesser-known artists, trends, and themes while showcasing a diversity of critical approaches to American art history interpretation. <br /> <br /> Topics covered range from scholarly overviews of specific chronological periods, movements, and media to in-depth explorations of theoretical concepts; from patronage to popular visual expression; from artistic facture and form to the history of art reception; and from issues of identity and community to reflections on ecology and the environment. Other writings shift focus to the geographical, conceptual, and chronological boundaries of “America” and the field of American art history, and cover pressing contemporary concerns and suggest future directions of scholarship in research and interpretation. Various art history perspectives are highlighted through several “dialogues,” in which scholars exchange ideas about important contemporary issues in the field. Essays also feature personal reflections of individual contributors on the development of the field. Combining innovative scholarship with thought-provoking debates, <i>A Companion to American Art</i> is an indispensable reference to the study of American art and artists from colonial times to the current day.

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