![]() That Painting American encompasses a remarkable period for French art is obvious. and what was then the capital of world art, Paris. In Painting American, she tracks the cultural interchange–in the years 1867-1948–between artists, dealers and collectors in the U.S. ![]() The such yearning involved a considerable amount of paradox is not lost upon Annie Cohen-Solal. Looking to Europe for inspiration and example, American artists nonetheless pined for an art that was irrevocably homegrown. They found themselves not only outcasts in a country for which art was not of first importance–something noted as early as 1766 by Copley–but self-conscious about their standing internationally. had been acutely aware of their peculiar, one might even say, lonely status. Up until “the triumph of the New York School” in the mid-20th century (to borrow art historian Irving Sandler’s phrase), artists working in the U.S. ![]() “Will the United States ever have an art of its own?” This question, asked by a French critic of the late 19th century, is one that has dogged American artists for the better part of the nation’s history. Emmanuel Leutze, Washington Crossing the Delaware (1851), oil on canvas, 149″ x 255″ courtesy the Metropolitan Museum of Art ![]()
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