By Judith H. Bonner, Estill Curtis Pennington
From the Potomac to the Gulf, artists have been growing within the South even ahead of it used to be famous as a zone. The South has contributed to America's cultural background with works as diversified as Benjamin Henry Latrobe's architectural plans for the nation's Capitol, the wares of the Newcomb Pottery, and Richard Clague's tonalist Louisiana bayou scenes. This complete quantity exhibits how, throughout the a long time and centuries, the artwork of the South extended from mimetic portraiture to classy responses to nationwide and overseas hobbies. The essays deal with historical and present tendencies within the visible arts and structure, significant collections and associations, and biographies of artists themselves. As major specialists at the region's artists and their paintings, editors Judith H. Bonner and Estill Curtis Pennington body the volume's contributions with insightful assessment essays at the visible arts and structure within the American South.
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Extra info for The New Encyclopedia of Southern Culture: Volume 21: Art and Architecture
Some groups attend the sale and some ignore it, suggesting the variations of opinion on the issue itself. John Brown’s Blessing, painted in New York in 1867, features the abolitionist insurrectionary being led from prison. As he pauses to bless a young Negro child held up by his mother, a phalanx of armed guards, bayonets stiffly erect, seem to stand at attention to the whitebearded old prophet figure before them instead of escorting him to his death. Margaret Garner, also from 1867, tells the tragic story of a slave who escaped across the river with her children into Cincinnati in 1856, only to be tracked down by callous bounty hunters.
We are still perhaps too close to this recent run of building to see it in historical perspective and to see how and if it has distinct regional qualities. A present consensus would probably be that the majority of styles and building types represent national rather than regional choices. Art and architecture are often, by their nature, national and international in character, but with regional accents. Modern technology and materials (including air-conditioning), modern communication systems, and a highly mobile population have abetted this tendency.
Inspired by reports of the event, William D. Washington began work on The Burial of Latané late in the summer of 1864. From the moment it was first exhibited, there was no doubt that The Burial of Latané was meant to compare the suffering and death of the valiant young officer with the fate of the Confederacy. An engraving of the painting made by Pate and Company, New York, in 1868 was widely distributed by the Southern Literary Messenger. The print’s popularity ensured the painting’s place as an iconic image of the Lost Cause movement.