Acknowledgments

Mancini, JoAnne Marie

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Acknowledgments

JoAnne Marie Mancini

Description: Pre-Modernism: Art-World Change and American Culture from the Civil War to the...

Pre-Modernism: Art-World Change and American Culture from the Civil War to the Armory Show

Everyone who writes a book incurs debts. As this project has taken many years—and many moves-to complete, I have incurred a lot. I would like to thank, first of all, the teachers whose guidance and support at Johns Hopkins University made this project possible, especially Dorothy Ross, Ronald Walters, and JoAnne Brown. For sparking my interest in earlier...

Author

JoAnne Marie Mancini

PublisherPrinceton University Press

https://doi.org/10.37862/aaeportal.00096.010

Stable URL: https://aaeportal.com/?id=-18515

Acknowledgments

I also owe a deep debt of gratitude to the many art historians who generously shared their knowledge and time. As a guest in the discipline, I have been continually impressed with its hospitality. Thanks, then, to Alan Braddock, Sarah Burns, Erika Esau, Marian and Phil Kovinick, Michael Leja, David Peters-Corbett, Alan Wallach, the fellows and staff at the Smithsonian American Art Museum, and the anonymous reader for Princeton University Press. I am especially grateful to Katherine Manthorne, for her tremendous generosity and critical acuteness.

I would not have been able to write and illustrate this book without the financial assistance of the Arts and Humanities Research Board, the Huntington Library, the Massachusetts Historical Society, the Smithsonian Institution, and University College Cork. I am also grateful to the staff at the American Antiquarian Society, the Archives of American Art, the Baltimore Museum of Art, the Boston Public Library, the Huntington Library, the Johns Hopkins University Libraries, the Massachusetts Historical Society, the Smithsonian American Art Museum, and the other libraries and archives mentioned in the text for their patient and assiduous help with research. Thanks, too, to Marcus Wood for giving the book its title; to Princeton University Press for giving me something to put it on; and to Robert and Brownie Allen, in whose house it was such a pleasure to write it.

I am grateful to the many colleagues, friends, and allies who lived with me while I lived with this project, including Andy Bielenberg, Jonathan Brody, Vittorio Bufacchi, Mark Canuel, Mark Chu, Amie Cole, Linda Connolly, Elizabeth Ferry, Cathy Jurca, Mara Keire, Michelle Lesperance, Sandra Macpherson, Dan McGee, Stacey McGraw, Chris McKenna, Mervyn O’Driscoll, Rebecca Plant, Charlene Porsild, Susanne Pralle, Nancy Press, Raluca Radulescu, Mark Rigstad, Laura Riley, Silvia Ross, Jon Rottenberg, Leo Shin, Mike Szalay, Christopher Wild, David Wood; all the folks in Calgary; and new friends in Brighton and Dublin.

Finally, I owe this and so much more to Anthony, Ellen, Bart, T.J., and Cindy Mancini; Ali Bothwell; David, Sybil, and Peter Finlay; and, most of all, to Victor and Graham Finlay, for their patience and love.

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BOOKPre-Modernism: Art-World Change and American Culture from the Civil War to the Armory Show

JoAnne Marie Mancini

https://doi.org/10.37862/aaeportal.00096

Stable URL: https://aaeportal.com/?id=-18505

Speaking of the emergence of modernism, author Virginia Woolf famously said: "On or about December 1910, human character changed." But was the shift to modernism really so revolutionary? J. M. Mancini argues that it was not. She proposes that the origins of the movement can in fact be traced well into the nineteenth century.

Several cultural developments after the Civil War gradually set the stage for modernism, Mancini contends. New mass art media appeared on the scene, as did a national network of museums and groundbreaking initiatives in art education.These new institutions provided support for future modernists and models for the creators of the avant-garde. Simultaneously, art critics began to embrace abstraction after the Civil War, both for aesthetic reasons and to shore up their own nascent profession. Modernism was thus linked, Mancini argues, to the emergence of cultural hierarchy.

A work of impeccable scholarship and unusual breadth, the book challenges some of the basic ideas about both the origins of twentieth-century modernism and the character of Gilded-Age culture. It will appeal not only to art historians but also to scholars in American history and American studies.

Author

JoAnne Marie Mancini

PublisherPrinceton University Press

Print publication date January 2005 (in print)

Print ISBN 9780691118130

EISBN 9780300249767

Illustrations 76

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