Paris 1900: The "American School" at the Universal Exposition FROM THE PUBLISHER
In essays by Diane P. Fischer, Linda J. Docherty, Robert W. Rydell, Gabriel P. Weisberg, and Gail Stavitsky, Paris 1900 examines the campaign sponsored by the U.S. Department of State proving the existence of a distinct "American school" of art and refuting earlier French criticism that American art was primarily a reflection of French art. At this exposition, the McKinley administration's crusade emphasized paintings that exuded "American character," such as images of virile men, wholesome women, pristine landscapes, and technologically superior cities. Paintings by still-powerful American expatriates were also included: Exhibiting only native themes would have smacked of a provincialism inconsistent with the new outward-looking agenda of American foreign policy.. "Featuring more than 140 color and black-and-white illustrations, Paris 1900 is the companion volume to a major exhibition of over 80 paintings, sculptures, and decorative art objects at The Montclair Art Museum, which will travel later to museums in Philadelphia, Pennsylvania; Columbus, Ohio; Madison, Wisconsin; and Paris, France.
SYNOPSIS
Among the artist represented are:
- Winslow Homer
- George Inness
- Augustus Saint-Gaudens
- James McNeill Whistler
- John Singer Sargent
- Childe Hassam
- William Merritt Chase
- Cecilia Beaux
- Thomas Easkins
- Henry O. Tanner
- Edwin Lord Weeks
- Charles Yardley Turner
- William Bouguereau
- Henri Martin
- Robert Reid
- Cyrus E. Dallin
- Bessie O. Potter Vonnoh
- Robert Loftin Newman
- Maxfield Parrish
- Charles Courtney Curran
- Edwin Austin Abbey
- Francis Davis Millet
- Robert Blum
- Daniel Ridgway Knight
- Charles Woodbury
- George Hitchcock
- Fred Dana Marsh
- Edmund C. Tarbell
- Abbott Handerson Thayer
- Irving Wiles
- Mary Fairchild MacMonnies
- Rosina Emmet Sherwood
- Julian Alden Weir
- Leonard Ochtman
- Henry Gallison
WHAT PEOPLE ARE SAYING
For all who hope to see American art as part of an international community, this is a majorevent, teeming with new data and fresh ideas. Robert Rosenblum
The display of American paintings at the Paris Universal Exposition of 1900 reflected the cosmopolitan course that American art had taken since the Civil War and reacted against that course in light of new desires for national expression. Reconstructing the display and probing its significance, Fischer and her associates illuminate our nation's cultural aspirations- as well as some of our political and economic achievements and ambitions- at the dawn of the 'American Century. H. Barbara Weinberg