Bryan J Wolf
Biographic Data
| ID | 311441 |
|---|---|
| NAME | Bryan J Wolf |
| GIVEN NAMES | Bryan J |
| FAMILY NAME | Wolf |
| SIGNATURE | WOLF B J |
| AFFILIATIONS | Yale University |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Between the Lines
In the years between 1967 and 1970, Philip Guston scandalized the New York art world by renouncing abstraction and turning instead to figurative modes of painting characterized by cartoonish images that mixed Ku Klux Klan hoods, idioms of popular culture, and a private vocabulary of cigars, light bulbs, legs, shoes and other assorted—and often hairy—body parts. Buried within these often outlandish works are three recurring concerns: questions of …
Of Air Pumps and Teapots
Up/Down in Two Sculptures by Martin Puryear
Thomas Cole
“Thomas Cole: Landscape into History.” National Museum of American Art, Smithsonian Institution, Eighth and G Sts., NW, Washington, DC 20560 Get access Bryan J. Wolf Bryan J. Wolf Yale University, New Haven, Connecticut Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 83, Issue 3, December 1996, Pages 958–962, https://doi.org/10.2307/2945649 Published: 01 December 1996
How the West Was Hung, Or, When I Hear the Word "Culture" I Take Out My Checkbook
A Grammar of the Sublime, or Intertextuality Triumphant in Church, Turner, and Cole
IN 1855 the American artist Frederic E. Church paints the Andes of Ecuador, a South American landscape that has been read by critics from the nineteenth century to the present as an emblem of American national destiny. Church presents us with a primeval creation scene, a nature that is pristine and untouched, except, perhaps, by the violating eye of the painter and beholder, who appropriates the power of an Andean landscape to the purposes of his…
Thomas Cole
“Thomas Cole: Landscape into History.” National Museum of American Art, Smithsonian Institution, Eighth and G Sts., NW, Washington, DC 20560 Get access Bryan J. Wolf Bryan J. Wolf Yale University, New Haven, Connecticut Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 83, Issue 3, December 1996, Pages 958–962, https://doi.org/10.2307/2945649 Published: 01 December 1996
How the West Was Hung, Or, When I Hear the Word "Culture" I Take Out My Checkbook
A Grammar of the Sublime, or Intertextuality Triumphant in Church, Turner, and Cole
IN 1855 the American artist Frederic E. Church paints the Andes of Ecuador, a South American landscape that has been read by critics from the nineteenth century to the present as an emblem of American national destiny. Church presents us with a primeval creation scene, a nature that is pristine and untouched, except, perhaps, by the violating eye of the painter and beholder, who appropriates the power of an Andean landscape to the purposes of his…
How the West Was Hung, Or, When I Hear the Word "Culture" I Take Out My Checkbook
Thomas Cole
“Thomas Cole: Landscape into History.” National Museum of American Art, Smithsonian Institution, Eighth and G Sts., NW, Washington, DC 20560 Get access Bryan J. Wolf Bryan J. Wolf Yale University, New Haven, Connecticut Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 83, Issue 3, December 1996, Pages 958–962, https://doi.org/10.2307/2945649 Published: 01 December 1996
Up/Down in Two Sculptures by Martin Puryear
Of Air Pumps and Teapots
Between the Lines
In the years between 1967 and 1970, Philip Guston scandalized the New York art world by renouncing abstraction and turning instead to figurative modes of painting characterized by cartoonish images that mixed Ku Klux Klan hoods, idioms of popular culture, and a private vocabulary of cigars, light bulbs, legs, shoes and other assorted—and often hairy—body parts. Buried within these often outlandish works are three recurring concerns: questions of …
Art (5 works) · Art history (5 works) · History (4 works) · Philosophy (4 works) · Art, Politics, and Modernism (3 works) · Painting (3 works) · Art History and Market Analysis (2 works) · History (2 works) · Linguistics (2 works) · Literature (2 works)