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by Julie Aronson (Editor), Sarah Burns (Contribution by), André Dombrowski (Contribution by)
Seeing the bold, confident handling with which Frank Duveneck (1848--1919) infuses life into his subjects can be breathtaking. This is the first major publication in more than 30 years devoted to Duveneck, one of the most influential and widely respected late-nineteenth century American artists. Beloved to his students, Duveneck was lauded by many Gilded Age luminaries such as James Abbott McNeill Whistler and Henry James. Yet a century after his death, he is largely known only for a single, brilliant painting, The Whistling Boy. By contextualizing his work in the artistic, cultural and social milieus of the time, this publication offers diverse perspectives on Duveneck's life, work, subjects and reputation. The essays span his beginnings as a painter of dark realism to his later impressionistic work and examine his significance as a printmaker and draftsman. The lavishly illustrated volume includes a chronology and selected bibliography.
Author Biography
Julie Aronson is curator of American Paintings, Sculpture and Drawings, Cincinnati Art Museum. Barbara Gallati is curator emerita of American Art, Brooklyn Museum. Sarah Burns is Ruth N. Halls Professor, Department of Art History, Indiana University. André Dombrowski is associate professor, History of Art Department, University of Pennsylvania. Elizabeth A. Simmons is curatorial research assistant, Cincinnati Art Museum. Kristin L. Spangenberg is curator of Prints, Cincinnati Art Museum. Colm Tóibín is an award-winning novelist, short story writer, essayist, playwright, journalist, critic, and poet, and currenlty Irene and Sidney B. Silverman Professor of the Humanities, Department of English and Comparative Literature, Columbia University. He is the author of, most recently, Mad, Bad, Dangerous to Know: The Fathers of Wilde, Yeats and Joyce, (2018) and Brooklyn (2009), and co-author of Henry James and American Painting, (2017).
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