Barbara Novak

At the height of his career as the leader of the Hudson River School of American landscape painting, Thomas Cole listed himself in the New York City Directory as an architect. Why would this renowned painter, who had never before designed a building, advertise himself as such? The importance of Cole s paintings and the significance of his essays, poems, and philosophy are well established, yet an analysis of his architectural endeavors and their impact on his painting has not been undertaken until now. In celebration of the recreation of the artist s self-designed Italianate studio at Cedar Grove in Catskill, New York, now the Thomas Cole National Historic Site, this book focuses on Cole s architectural interests through architectural elements found in his paintings and drawings as well as in his realized and visionary projects, expanding our understanding of the breadth of his talents and interests. An essay by noted art historian Annette Blaugrund and a contribution by Franklin Kelly, illustrated with Cole s famous works, sketches, and architectural renderings, reveal an unexplored, yet fascinating, aspect of the career of this beloved artist and thus, a crucial moment in the development of the Hudson River School and American art. Published to coincide with the exhibition Thomas Cole: The Artist as Architect at the Thomas Cole National Historic Site and travelling to the Columbus Art Museum, the book adds a new dimension to scholarship on the artist."

Barbara Novak is one of America's premier art historians, the author of the seminal books American Painting of the Nineteenth Century and Nature and Culture. Now, with the paperback of Voyages of the Self, this esteemed critic completes the trilogy begun with the two earlier works, offering once again an exhilarating exploration of American art and culture. In this book, Novak explores several inspired pairings of key writers and painters, drawing insightful parallels between such masters as John Singleton Copley and Jonathan Edwards, Winslow Homer and William James, Frederic Edwin Church and Walt Whitman, and Jackson Pollock and Charles Olson. Through these and other groupings, Novak tracks the varied meanings of the self in America, in which the most salient characteristics of each artist or writer is shown to draw from-and in turn influence-the larger map of American life. Two major threads weaving through the book are the American preoccupation with the "object" and our continuing return to pragmatism. Through fruitful comparisons-whether between Copley and Edwards, or Lane and Emerson, or Ryder and Dickinson-Novak sheds unmatched light on our nation's artistic heritage.

In this distinguished work, which Hilton Kramer in The New York Times Book Review called "surely the best book ever written on the subject," Barbara Novak illuminates what is essentially American about American art. She highlights not only those aspects that appear indigenously in our art works, but also those features that consistently reappear over time. Novak examines the paintings of Washington Allston, Thomas Cole, Asher B. Durand, Fitz H. Lane, William Sidney Mount, Winslow Homer, Thomas Eakins, and Albert Pinkham Ryder. She draws provocative and original conclusions about the role in American art of spiritualism and mathematics, conceptualism and the object, and Transcendentalism and the fact. She analyzes not only the paintings but nineteenth-century aesthetics as well, achieving a unique synthesis of art and literature. Now available with a new preface and an updated bibliography, this lavishly illustrated volume--featuring more than one hundred black-and-white illustrations and sixteen full-color plates--remains one of the seminal works in American art history.