Arts In The United States
Visual art of The United States and/or American art encompasses the history of painting and visual art in the United States. In the late 18th and early 19th centuries, artists primarily painted landscapes and portraits in a realistic style based mainly on Western painting and European arts. A parallel development taking shape in rural America was the American craft movement, which began as a reaction to the industrial revolution. Developments in modern art in Europe came to America from exhibitions in New York City such as the Armory Show in 1913. After World War II, New York replaced Paris as the center of the art world. Since then many American movements have shaped Modern and Postmodern art. Art in the United States today covers a huge range of styles.
Read more about Arts In The United States: Eighteenth Century, Nineteenth Century, Twentieth Century, Notable Figures
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“To be President of the United States, sir, is to act as advocate for a blind, venomous, and ungrateful client; still, one must make the best of the case, for the purposes of Providence.”
—John Updike (b. 1932)
“Vanessa wanted to be a ballerina. Dad had such hopes for her.... Corin was the academically brilliant one, and a fencer of Olympic standard. Everything was expected of them, and they fulfilled all expectations. But I was the one of whom nothing was expected. I remember a game the three of us played. Vanessa was the President of the United States, Corin was the British Prime Minister—and I was the royal dog.”
—Lynn Redgrave (b. 1943)
“I haven’t seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the company’s behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)
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—Jane Grey Swisshelm (1815–1884)
“I asked myself, “Is it going to prevent me from getting out of here? Is there a risk of death attached to it? Is it permanently disabling? Is it permanently disfiguring? Lastly, is it excruciating?” If it doesn’t fit one of those five categories, then it isn’t important.”
—Rhonda Cornum, United States Army Major. As quoted in Newsweek magazine, “Perspectives” page (July 13, 1992)