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Zusatztext Prize: Winner of a College Art Association Wyeth Foundation for American Art Publication Grant 'This is the most important book on Gilded Age art patronage written in years. This fascinating book offers a much-needed alternative perspective on American art and patronage of the late 19th century. By exploring how the Gilded Age unfolded in the land of gold - California - John Ott mines a rich history indeed! at once regional and cosmopolitan. Ott brilliantly illuminates the emergence of a broader! national network of corporate culture-brokering! to which artists often tailored their work or had it tailored for them! in some cases seriously complicating assumptions about artistic authorship and originality. Ott's study is social art history at its best.' Alan C. Braddock! College of William & Mary! USA 'One thing is for certain! Ott's book is a worthy successor to Burns' study! and it should have a similarly galvanizing effect on the field.' CAA Reviews 'Ott's book is not only an impressive study of art patronage and social class in Gilded Age California! but also a model for historians seeking to explore other Art Worlds! as Becker defined them! in the Nineteenth Century! the United States! and beyond.' Panorama 'Academic works should provoke! and Ott drives his interpretations to the limit in Manufacturing the Modern Patron in Victorian California. Judging from his intense writing and clever titles! Ott's classes at Virginia's James Madison University will never lack lively discussion.' Western Historical Quarterly Informationen zum Autor John Ott is Associate Professor of Art History! James Madison University! USA. Klappentext Through the example of Central Pacific Railroad executives! Manufacturing the Modern Patron redirects attention from the usual art historical protagonists - artistic producers - and rewrites narratives of American art from the unfamiliar vantage of patrons and collectors. Zusammenfassung Through the example of Central Pacific Railroad executives, Manufacturing the Modern Patron redirects attention from the usual art historical protagonists - artistic producers - and rewrites narratives of American art from the unfamiliar vantage of patrons and collectors. Contents: Introduction; Section I Towards a Topography of Art Patronage and Class Identity: The manufactured patron: competing conceptions of cultural philanthropy; Sacred precincts: staging class identity through art consumption. Section II Industrialism, Science, and Managerial Over-Sight: Iron horses: Leland Stanford, Eadweard Muybridge, and the industrialized eye; Supervision: landscapes of systems and management in the gilded age. Section III Industrialism and the Production of Regional History: White gold: Edwin Crocker and Charles Nahl's Sunday Morning in the Mines; Missionary work: Jane Stanford, educational philanthropy, and the mission revival; Conclusion: the man with the dough, or Westward Hoe!; Bibliography; Index. ...
