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| Introduction | |
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| The Colonial Era | |
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| Art in an age of puritanism | |
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| The Well-Dressed Puritan | |
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| Icons and the Metaphor of Painting | |
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| Cotton Mather on Art | |
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| Thomas Smith's Reflection on Death | |
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| Dissenting opinions: alternatives to puritan practice | |
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| Quaker "Rules" on Tombstones | |
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| John Valentine Haidt's Theory of Painting | |
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| Art and the Spanish Conquest | |
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| Advertisements | |
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| Peter Pelham Scrapes a Mezzotint | |
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| Runaway "Limners" | |
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| John Durand | |
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| Work forWomen | |
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| Public Spectacle | |
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| Early responses to portraits | |
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| Pioneering artists | |
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| John Smibert Documents | |
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| BenjaminWest onWilliamWilliams | |
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| Taste and theory | |
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| Of the Knowledge of Painting | |
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| The Use and Advantages of the Fine Arts | |
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| Poems on portraits | |
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| Training and the lure of europe | |
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| John Singleton Copley: Ambition and Practicality | |
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| CharlesWillson Peale in London and Philadelphia | |
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| Revolution And Early Republic | |
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| Defining art | |
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| John Adams on the Arts | |
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| Public Art for the New Republic: Charles Willson Peale's | |
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| Triumphal Arch | |
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| The Place of the Arts in American Society | |
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| An Early Scheme for a Museum of Sculpture | |
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| Sculptors for the Capitol | |
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| Wertm�ller's Dana� and "Nudities" | |
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| "Native" Subjects vs. Continental Taste | |
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| A Plan for Government Patronage of History Painting | |
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| Citizens: documents on portrait painting | |
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| Bushrod Washington Commissions a Portrait | |
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| GeorgeWashington: The Image Industry | |
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| Ralph Earl and Reuben Moulthrop: Connecticut Itinerant Painters | |
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| Joshua Johnson Advertises | |
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| Gilbert Stuart: Eyewitness Accounts | |
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| President Monroe Discusses American Artists | |
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| Charles Willson Peale's Advice to Rembrandt Peale | |
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| Chester Harding: Self-Made Artist | |
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| Artistic identity, artistic choices | |
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| Benjamin West: A NewWorld Genius Conquers the Old | |
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| Benjamin West, Patriarch of American Painting | |
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| John Trumbull Paints Revolutionary History | |
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| Washington Allston's Southern Roots | |
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| Washington Allston and the Miraculous Sublime | |
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| Washington Allston in Boston | |
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| Washington Allston's "Secret Technique" | |
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| Washington Allston's Idealism | |
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| John Vanderlyn's Bid for Fame | |
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| John Vanderlyn Paints an American Epic | |
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| John Vanderlyn's Panorama | |
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| Samuel Morse's The House of Representatives | |
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| Rembrandt Peale's The Court of Death | |
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| The establishment of artistic categories | |
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| Landscape | |
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| Charles Willson Peale's Moving Pictures | |
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| Timothy Dwight Views Greenfield Hill | |
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| The American Gothic Landscapes of Charles Brockden Brown | |
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| The Earliest Guide to Sketching Landscape | |
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| Still Life: Raphaelle Peale | |
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| Genre: John Lewis Krimmel | |
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| Early institutions | |
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| Philadelphia | |
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| Charles Willson Peale's Museum | |
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| The Columbianum | |
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| Quaker City Arts Organizations, c. 1810 | |
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| New York: The American Academy of the Fine Arts | |
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| Boston: John Browere's Gallery | |
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| Antebellum America: Values And Institutions | |
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| Art in a democratic nation | |
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| The Importance of the Genres | |
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| Art in a Mercantile Culture | |
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| Charles Fraser Considers Art, Society, and the Future | |
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| William Dunlap Champions the Arts | |
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| Ralph Waldo Emerson's Living Art | |
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| The Anti-"American School" | |
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| Joel HeadleyWaves the Flag of American Art | |
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| On Mechanics and the Useful Arts | |
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| Building institutions | |
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| The National Academy of Design | |
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| The Founding | |
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| The Early Years | |
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| Growing Polarization | |
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| The American Art-Union | |
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| Collectors and patrons | |
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| Thomas Cole and His Patrons | |
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| Thomas Cole Laments the Taste of the Times | |
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| William Sidney Mount Chooses a Subject | |
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| Instructions for Collectors | |
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| James Fenimore Cooper Commissions a Statue | |
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| Art and Private Property | |
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| Antebellum America: Landscape, Life, And Spectacle | |
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| The american landscape | |
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| Literary Landscapes | |
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| James Fenimore Cooper's Forest Primeval | |
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| Educating the Gaze: Benjamin Silliman on Monte Video | |
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| The Glory of an American Autumn | |
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| Romantic Nature | |
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| For the Birds: John James Audubon and American Nature | |
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| Thomas Cole and the American Landscape | |
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| The Poetry of Landscape: Thomas Cole in Verse | |
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| Thomas Cole and the Course of Empire | |
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| American Sites: Tourist Literature | |
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| Tourists in the Landscape | |
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| The Railroad in the Landscape | |
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| Transcendental Nature | |
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| Emerson's Transcendent Natural World | |
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| Nature, Wild and Tame | |
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| Asher B. Durand Formulates the American Landscape | |
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| The Hudson River School in Public | |
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| Facing Nature: Jasper Cropsey and Sanford Gifford | |
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| The National Landscape in Repose: John Frederick Kensett | |
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| Fitz Henry Lane, Marine Painter Extraordinary | |
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| American life | |
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| Ralph Waldo Emerson on Native and National Art | |
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| William Sidney Mount and the Celebration of National Character | |
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| William Sidney Mount's Thoughts on Art, Life, and Travel Abroad | |
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| The Significance of Bumps on the Skull | |
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| Walt Whitman on American Painting | |
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| David Gilmour Blythe on Modern Times | |
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| Lilly Martin Spencer: Making It in New York | |
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| Artists of color and the representation of race | |
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| The Public Display of Slavery | |
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| William Sidney Mount's Ambivalence on Race | |
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| Frederick Douglass on African American Portraiture | |
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| The Verses of Dave the Potter | |
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| J.P. Ball's Panorama of Slavery | |
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| An Imaginary Picture Gallery | |
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| Eastman Johnson's Negro Life at the South | |
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| Artists: advice and careers | |
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| Rufus Porter's Recipe for Mural Painting | |
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| Thomas Seir Cummings on Miniature Painting | |
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| A Folk Artist Overcomes a Disability | |
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| Thomas Sully's Hints to Young Painters | |
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| Antebellum America: Public Art And Popular Art | |
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| The U.S. government as patron: decoration of the capitol | |
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| Horatio Greenough's George Washington | |
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| Lobbying for Capitol Commissions | |
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| The Liberty Cap as a Symbol of Slavery | |
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| Artists Weigh In on Art in the Capitol | |
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| Art in public | |
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| Hiram Powers's The Greek Slave | |
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| The Public Display of the Nude | |
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| George Templeton Strong Visits the National Academy | |
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| Too Many Portraits? | |
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| Henry James Remembers a New York Childhood | |
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| Popular art, edification, and entertainment | |
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| Responses to the Daguerreotype | |
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| Taste and Print Culture | |
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| Daniel Huntington's Mercy's Dream | |
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| Gift Books and Sentimental Culture | |
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| High and Low: Taste in Painting | |
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| Currier & Ives: Art Hand in Hand with Business | |
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| OliverWendell Holmes on Stereographs | |
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| The American Museum | |
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| Antebellum America: Expanding Horizons | |
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| International travel and exchange | |
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| D�sseldorf and the D�sseldorf Gallery | |
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| The Lure of Italy | |
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| Manifest destiny | |
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| Manufacturing history | |
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| American History, Pro and Con | |
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| The American Spirit of Emanuel Leutze | |
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| Emanuel Leutze's Clash of Civilizations | |
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| Washington Crosses the Delaware: Birth of an Icon | |
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| Art on and of the frontier | |
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| The Noble Savage/Vanishing Race | |
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| George Catlin Portrays the Native Americans | |
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| Prince Max and Karl Bodmer among the Mandan | |
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| American Indians as Spectacle | |
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| American Indians as Pictorial Material | |
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| Western Life | |
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| George Caleb Bingham:Western Life andWestern Politics | |
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| Critics on Bingham, East andWest | |
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| Life on the Mississippi in John Banvard's Panorama | |
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| William Jewett's Letters from California | |
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| Frederic church's sublime landscapes | |
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| Heart of the Andes | |
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| After Icebergs with a Painter | |
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| The 1860s | |
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| Taking stock | |
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| The Photograph and the Face | |
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| A Sunny View of American Progress in Art | |
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| James Jackson Jarves's The Art-Idea | |
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| Henry T. Tuckerman's Book of the Artists | |
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| Sculpture in Mid-century America | |
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| Landscape at a crossroads: nature seen through telescope and microscope | |
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| The American Pre-Raphaelites | |
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| Albert Bierstadt's Great Picture | |
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| Variations on a Scene: John Frederick Kensett, Albert Bierstadt, and Thomas Hill | |
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| Too Many Landscapes | |
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| Civil war | |
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| The War and the Artist | |
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| A Southern View of the Arts duringWar | |
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| Photographs of Antietam | |
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| Sanitary Fairs | |
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| History Painting and theWar | |
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| Winslow Homer's Prisoners from the Front | |
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| Race | |
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| Sojourner Truth Inspires a Sculptor | |
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| John Quincy AdamsWard's Freedman | |
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| AnneWhitney's Africa | |
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| Postwar Painting and Race | |
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| Art after conflict | |
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| Memorializing theWar | |
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| The National Academy of Design: Praise and Condemnation | |
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| Settling In: Artists in Their Studios | |
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| The Conditions of Art in America | |
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| Dissatisfaction with Artists | |
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| What Does Art Teach Us? | |
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| Is Religious Art Still Relevant? | |
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| The Gilded Age: Life And Landscape At Home | |
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| Nationalism and home subjects | |
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| Eugene Benson's French Gospel for Truly American Art | |
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| Home Subjects and Patriotic Painting | |
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| Eastman Johnson's Formula for Success | |
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| Art in the South | |
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| Modes of realism | |
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| Winslow Homer, All-American | |
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| Damnable Ugly: Henry James on Homer | |
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| Winslow Homer's Working Methods | |
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| Winslow Homer's Sea Change | |
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| Winslow Homer's Savage Nature and Primal Scenes | |
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| Thomas Eakins in Europe | |
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| Thomas Eakins's The Gross Clinic | |
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| Mariana Griswold Van Rensselaer Meets Thomas Eakins | |
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| Eadweard Muybridge's Serial Photographs | |
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| Race and representation | |
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| Robert Duncanson and "Passing" | |
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| Edward Bannister and George Bickles: | |
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| Discrimination and Acceptance | |
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| Winslow Homer: Painting Race | |
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| Henry Ossawa Tanner | |
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| Landscapes: east and west | |
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| The Old Northeast | |
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| Armchair Tourism and Picturesque America | |
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| Poetry in Paint: Art in Boston | |
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| George Inness and the Spiritual in Art | |
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| George Inness and the Landscape of the Mind | |
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| The New West | |
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| William Henry Jackson: Photographing theWest | |
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| Thomas Moran and theWestern Sublime | |
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| Frederic Remington'sWildWest | |
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| Cultural Intersections: Native Art and theWhite Imperial Gaze | |
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| The Gilded Age: Art Worlds And Art Markets | |
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| Art on the market | |
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| French Art in New York | |
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| Buy American | |
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| Art as Commodity | |
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| Artists Broker TheirWork | |
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| American Artists: Starving or Selling Out | |
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| ArtWorld Diaries: Jervis McEntee and J. Carroll Beckwith | |
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| Studio life and art society | |
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| New Men andWomen in New York | |
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| Artists and Models | |
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| William Merritt Chase's Super-Studio | |
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| Elizabeth Bisland Roving the Studios | |
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| The Tile Club: Play asWork | |
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| Artists in Their Summer Havens | |
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| Varnishing Day | |
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| The Gilded Age: Education, Institutions, And Exhibitions | |
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| Education | |
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| A Cautionary Essay on Art Instruction | |
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| Boston | |
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| William Morris Hunt's Talks on Art | |
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| The Massachusetts Drawing Act of 1870 | |
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| Chicago | |
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| Sculpture at the Art Institute of Chicago | |
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| New York | |
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| Labor and Art on the Lower East Side | |
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| LemuelWilmarth on the Life Class | |
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| Breaking Away: The Art Students League | |
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| Philadelphia | |
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| The School of the Pennsylvania Academy of the Fine Arts | |
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| The Pennsylvania Museum and School of Industrial Art | |
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| San Francisco | |
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| A Deaf Artist in San Francisco | |
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| Art institutions | |
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| Young Turks: The Formation of the Society of American Artists | |
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| The Need for American Museums | |
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| George Inness on Art Organizations | |
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| The philadelphia centennial and the colonial revival | |
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| E. L. Henry Dreams of the Past | |
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| The Centennial Exhibition | |
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| The Colonial Revival Landscape | |
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| Cosmopolitan Dialogues | |
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| Internationalism | |
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| The Tariff Controversy | |
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| Internationalist Backlash | |
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| The Return from Europe | |
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| Friedrich Pecht: A German Critic on American Art | |
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| Americans Abroad | |
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| Art education | |
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| Germany | |
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| The Munich School | |
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| France | |
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| Will Low Remembers Barbizon | |
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| J. AldenWeirWrites Home about Jean-L�on G�r�me | |
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| Elizabeth Boott Studies with Thomas Couture | |
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| Kenyon Cox Struggles in Paris | |
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| May Alcott Nieriker's Tips for Study in Paris | |
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| Student Life at the Ecole des Beaux-Arts | |
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| A Midwesterner in the City of Light | |
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| The nude | |
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| Kenyon Cox's Lonely Campaign for the Nude | |
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| Anthony Comstock vs. Knoedler & Co. | |
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| Augustus Saint-Gaudens Resigns | |
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| Arch-expatriates | |
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| James McNeillWhistler, Expatriate Extraordinaire | |
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| Art on Trial: James McNeillWhistler vs. John Ruskin | |
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| James McNeillWhistler's Platform | |
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| James McNeillWhistler and the Critics | |
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| John Singer Sargent, Man of theWorld | |
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| New women in art | |
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| Women Sculptors in the Eternal City | |
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| A Feminist Looks at Harriet Hosmer | |
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| Women Artists,Woman's Sphere | |
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| Mary Cassatt, ModernWoman | |
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| Cecilia Beaux: Becoming the GreatestWoman Painter | |
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| ShouldWomen Artists Marry? | |
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| The ArtWorkers' Club forWomen | |
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| Advice forWomen Photographers | |
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| 12 | |
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| Critical voices | |
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| Eugene Benson | |
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| Earl Shinn on Criticism | |
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| Mariana Griswold Van Rensselaer Assesses the Progress of American Art | |
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| Sylvester Koehler Reflects on a Decade of American Art | |
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| William Howe Downes and Frank Torrey Robinson's | |
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| "Critical Conversations" | |
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| The little media | |
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| Watercolor | |
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| The American Taste forWatercolor | |
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| A Child's View of theWatercolor Show | |
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| Pastel | |
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| The Society of American Painters in Pastel | |
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| JamesWells Champney on Pastels | |
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| Etching | |
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| The "First" American Etching | |
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| Two Views on Etching | |
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| Women Etchers: Mary Nimmo Moran | |
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| Otto Bacher onWhistler in Venice | |
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| Wood Engraving | |
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| Popular art and its critique | |
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| The Nation vs. Prang & Co. | |
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| John Rogers, the People's Sculptor | |
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| The Trouble with Monuments | |
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| William Harnett's After the Hunt and The Old Violin | |
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| The Gap between Professionals and the Public | |
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| John George Brown, the Public's Favorite | |
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| In the magazines: the new illustrators | |
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| In Defense of Illustration | |
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| Howard Pyle's Credo | |
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| Charles Dana Gibson, All-American Illustrator | |
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| Women in Illustration | |
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| amateur or artist? debates on photography | |
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| Amateurs | |
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| Pictorialism | |
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| Beauty, Vision, And Modernity | |
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| The aesthetic movement | |
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| OscarWilde's American Tour | |
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| Advice to Decorators | |
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| Poking Fun at Aestheticism | |
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| Aesthetic and IndustriousWomen | |
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| Japonisme | |
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| John La Farge's Revolution in Stained Glass | |
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| Impressionism: critical reception | |
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| American Artists Confront Impressionism | |
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| French Impressionism Comes to America | |
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| Impressionism: american practices | |
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| The Americanization of Impressionism | |
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| William Merritt Chase, Seeing Machine | |
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| Childe Hassam on Painting Street Scenes | |
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| Impressionism: eclectic practices | |
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| Genealogies of Tonalism | |
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| Thomas Wilmer Dewing, Choice Spirit | |
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| Praise for John Twachtman | |
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| Refinement in Boston: Edmund Tarbell | |
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| The Sensuous Color of John La Farge | |
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| Art colonies | |
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| Summer Colonies | |
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| Vacationing with Art in Shinnecock Hills | |
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| Living the Life of Art in Cornish | |
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| Beyond the threshold: visionaries and dreamers | |
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| William Rimmer: Angels and Demons | |
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| Elihu Vedder, Mystical Joker | |
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| Albert Pinkham Ryder: The Myth of the Romantic Primitive | |
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| Imperial America | |
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| The world's columbian exposition | |
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| Experiencing the Fair | |
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| Popular Art at the Fair | |
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| Mural painting | |
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| Edwin Howland Blashfield Defines Mural Painting | |
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| Kenyon Cox Negotiates a Commission | |
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| Public sculpture | |
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| The Farragut Monument | |
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| The National Sculpture Society | |
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| Karl Bitter on Sculpture for the City | |
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| A Victory Monument over Fifth Avenue | |
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| Retrospectives and prospects | |
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| California vs. the East Coast | |
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| The Clarke Sale Cements the Value of American Art | |
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| American Art Poised for a New Century | |
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| Surveying the Century: Samuel Isham and Charles Caffin | |
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| Acknowledgments | |
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| List of Illustrations | |
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| Index | |