By John Caldwell, Oswaldo Rodriguez Roque, Dale T. Johnson, Kathleen Luhrs, Carrier Rebora, Patricia R. Windels
This paintings completes the three-volume catalog of The Metropolitan Museum of Art's striking number of American portray. quantity I specializes in an enormous selection of a few 315 work through approximately a hundred and twenty artists relationship from the early eighteenth century to the mid-nineteenth century. The museum's assortment positive factors eighteenth-century images and heritage work via such very important artists as John Smibert, Joseph Blackburn, John Singleton Copley, Benjamin West, Charles Willson Peale, Gilbert Stuart, and John Trumbull. artworks via the founders of the Hudson River college, Thomas Cole and Asher B. Durand, in addition to America's so much winning style painters, William Sidney Mount and George Caleb Bingham, also are incorporated during this catalog. The catalog proceeds chronologically, supplying a radical dialogue of every portray, a biography of the artist, bibliographical references, an exhibition historical past, and data on provenance.
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Additional info for American Paintings in The Metropolitan Museum of Art, Vol. 1
Government and executives of the major motion picture companies allowed him to project studio approval onto the proposed federal ﬁlm preservation plan, even if RATIONALES FOR AMERICAN: DEFENDING THE NATIONAL 31 corporate ambivalence persisted amid the producers and distributors. A revealing recollection of the era by Hays survives in his memoirs: This was also the period when great public institutions woke up to the importance of establishing motion picture archives—a recognition that certain ﬁlms are documents of permanent value.
Indeed, the Congressional Record contained numerous references to proposed motion picture amendments to the Archives bill during the 1930s that indicate the difﬁculty in answering this conundrum. During the debates over amending language in the bill, Hollywood wielded its inﬂuence most successfully. 19 Film critics like Terry Ramsaye and the MPPDA leadership bristled at the suggestion that feature ﬁlms would fail to be included in the national repository and pointed to the signiﬁcant assistance offered on the part of the industry.
D. may learn about us from the venerable news reels and dramas. ’”15 The proliferation of articles also testiﬁed to the media’s general fascination with Hays and his organization. S. ﬁlm preservation mandate at this time appears critical, according to the press accounts, which were undoubtedly assisted by the ﬁlm industry’s ease in garnering publicity. The few ﬁlm archive histories that have covered this period in the United States have mirrored such newspaper accounts, depicting Hays’s inﬂuence as the crucial factor in the nascent motion picture “preservation” lobby in Washington during the early 1920s.