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摘要
摘要
The California Gold Rush captured the get-rich dreams of people around the world more completely than almost any event in American history. This catalog, published in celebration of the sesquicentennial of the 1848 discovery of gold at Sutter's Mill, shows the vitality of the arts in the Golden State during the latter nineteenth century and documents the dramatic impact of the Gold Rush on the American imagination.
Among the throngs of gold-seekers in California were artists, many self-taught, others formally trained, and their arrival produced an outpouring of artistic works that provide insights into Gold Rush events, personages, and attitudes. The best-known painting of the Gold Rush era, C.C. Nahl's Sunday Morning in the Mines (1872), was created nearly two decades after gold fever had subsided. By then the Gold Rush's mythic qualities were well established, and new allegories--particularly the American belief in the rewards of hard work and enterprise--can be seen on Nahl's canvas. Other works added to the image of California as a destination for ambitious dreamers, an image that prevails to this day. In bringing together a range of art and archival material such as artists' diaries and contemporary newspaper articles, The Art of the Gold Rush broadens our understanding of American culture during a memorable period in the nation's history.
评论 (3)
Kirkus评论
A tad predictably, this survey of works on paper that emerged from California at around the time of the gold rush (1848) abounds in picturesque views of duly mountainous landscapes. There are also plenty of harborside San Francisco scenes to surprise the eye with the proximity of a very few sailing vesselsand even fewer skippers. Likewise, William Birch McMurtrie's vision of Telegraph Hill, circa 1849: The modesty of his sparse, low-lying dwellings is outdone only by the unbuilt bare vista extending alongside them. As with many 19th-century California scenes, his seems steeped in a pale golden aura, perhaps the greedy projection of a visiting artist who was hoping to mine a certain vein. Driesbach (curator at the Crocker Art Museum), Jones (curator at the Oakland Museum), and Holland (a former curator at the California Historical Society) give historical and biographical information, and observe some of the European influences that generally guided the painters; other influences can be inferred without them. For instance, A.D.O. Browere's Miners of Placerville owes something to Breughel in the scale, hue, and figurative compression of these he-men dwarfed by trees and hefting ropes and axes. But the impact of the book as a whole is held back by the small size of its color reproductions, which assigns to the hugeness of California a mincing, unconvincing Victorianism.
《书目》(Booklist)书评
It has been 150 years since James Marshall discovered gold in California and inadvertently set off the now-infamous gold rush. Tales of stubborn prospectors and boisterous boomtown life have crystallized into myth, but the art of that era, drawings and paintings by both self-taught and trained artists lured to the scene either for gold or the chance to sell their work, is little known. The exhibition this fine volume documents was mounted to correct this omission in U.S. art history, and Driesbach and her contributors do a superb job of combining gold-rush lore with discussions of the energetic landscapes and portraits that so avidly chronicle it. Most of the artists discussed will be new to readers, although the polished portraits of San Francisco's elite by William Smith Jewett may ring a bell. More in keeping with the spirit of the quest for gold are the realistic paintings of rural mining camps by George Henry Burgess and A. D. O. Browere, which capture the beauty and promise of the California landscape. (Reviewed April 1, 1998)0520214315Donna Seaman
Choice 评论
Though many themes in the art of the American West have been subjects of examination and exhibition for art historians and curators, the art of the California gold rush has not received detailed investigation. This attractive volume, prepared to accompany an exhibition at the Crocker Art Museum and the Oakland Art Gallery, addresses this neglect and examines this visual legacy in an engaging and analytical manner. The visual record produced by the artists who rushed to California to find their fortunes chronicled this grand adventure both for California residents and citizens of the nation's more eastern regions. As Driesbach, Jones, and Holland demonstrate, most of the images of the gold rush were created by artists of European descent. The works of almost every California artist who contributed to the visual interpretation of this event are examined, and illustrations of their work are included and analyzed. Particular attention is paid to the endeavors of Thomas A. Ayres, E. Hall Martin, William Smith Jewett, Charles Christian Nahl, Arthur Nahl, August Wenderoth, Ernest Narjot, George Henry Burgess, A.D.O. Browere, Frederick Butman, Alexander Edouart, and George Tirrell. Particularly interesting are the biographies of the artists who worked in California during this era. For all levels. P. D. Thomas; Wichita State University