Fall 2015 (1.2)
Articles
Dashing for America: Frederic Remington, National Myths, and Art Historical Narratives
A Dash for the Timber, one of Frederic Remington's (1861–1909) largest and most characteristic works, was acquired by the collector, Amon Carter, in 1945, and hangs today in the museum bearing his name in Fort Worth, Texas.
By Which Melancholy Occurrence: The Disaster Prints of Nathaniel Currier, 1835–1840
The hapless steamboat Lexington left New York for its usual run up to Stonington, Connecticut, at three o'clock in the afternoon on January 13, 1840, carrying passengers and a cargo of cotton bales. The day was particularly cold and the seas beyond Throgs Neck particularly high; almost all the passengers aboard elected to pay the extra 50¢ fare to be off the deck and inside the luxurious heated cabins.
Bully Pulpit
The practice of connoisseurship occupies a complicated position within the contemporary realm of art history. In recent decades, the legacy and economic connotations of connoisseurship have clashed with the aims and attitudes of many scholars.
Responses
Erica E. Hirshler, Croll Senior Curator of American Paintings; Museum of Fine Arts, Boston
A. Joan Saab, Chair, Department of Art and Art History, University of Rochester
Theodore E. Stebbins Jr., Curator of American Art, Emeritus, Harvard Art Museums
Alan Wallach, Professor Emeritus, The College of William and Mary
