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Seite 18 - He that by the Plough would thrive, Himself must either hold or drive.
Seite 16 - Annette Stott, Holland Mania: The Unknown Dutch Period in American Art and Culture (Woodstock, NY: Overlook Press, 1998), 56. 12. Ibid., 77. 13. Marc Simpson, "The 1880s,
Seite 3 - Once art had ended, you could be an abstractionist, a realist, an allegorist. . . . Everything was permitted, since nothing any longer was historically mandated. I call this the Post-Historical Period of Art, and there is no reason for it ever to come to an end. Art can be externally dictated to, in terms either of fashion or of politics, but internal dictation by the pulse of its own history is now a thing of the past.
Seite 42 - San Antonio Museum of Art, purchased with funds provided by the National Endowment for the Arts, Washington, DC, 81.153 New Shoes for HM, 1973, acrylic on canvas, 48 x 48 inches.
Seite 3 - Art was no longer possible in terms of a progressive historical narrative. The narrative had come to an end.
Seite 13 - a nai've country yokel mystified by the grotesque, flayed, headless seed repository before him. Puzzling with brushes in hand he is literally unable to make...
Seite 16 - The 1880s," in Thomas Eakins, ed. Darrel Sewell (Philadelphia: Philadelphia Museum of Art, 2001), 112. 14. Ronald G. Pisano, Painters of Peconic: Edith Prellwit2 and Henry Prellwit2 (New York: Spanierman Gallery, 2002), 12. 15. Virginia M. Mecklenburg, "Bellows Before Woodstcock," in Leaving for the Country: George Bellows at Woodstock by Marjorie B.
Seite 4 - Brillo Soap Pads Box, 1964 Silkscreen ink and house paint on plywood, 17 x 17 x 14 in.