An Endless Panorama of Beauty: Selections from the Jean and Alvin Snowiss Collection of American Art

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9780911209570: An Endless Panorama of Beauty: Selections from the Jean and Alvin Snowiss Collection of American Art

This catalogue from the Palmer Museum of Art of The Pennsylvania State University accompanied an exhibition, also entitled An Endless Panorama of Beauty, that presented highlights from the Jean and Alvin Snowiss collection of American art. Their remarkable collection ranges from the Revolutionary period of American history through the mid-twentieth century and includes major works by such famed artists as John Singleton Copley, Thomas Eakins, Winslow Homer, Charles Demuth, and Georgia O'Keeffe, among many others. An Endless Panorama of Beauty is the first publication devoted to the Snowiss holdings in American art. Fully illustrated, it discusses the scope and significance of their rich yet little-known collection.

The contributors to the catalogue—Joyce Henri Robinson, Leo G. Mazow, and Julia Dolan—also set the art into the context of American social and cultural history. Mazow's introductory essay concerns the expanded horizons and deeply recessed spaces frequently found in nineteenth- and twentieth-century landscape paintings, exploring the ways in which these represent a "panoramic sensibility" at the core of American cultural history.

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About the Author:

Joyce Henri Robinson is curator at the Palmer Museum of Art and Affiliate Associate Professor in the Department of Art History of The Pennsylvania State University.

Leo G. Mazow is curator of American art at the Palmer Museum of Art.

Review:

“Turning the pages of this handsome book is to view many horizons of place and time in America: chasm landscapes of Robert Street and of David Johnson; Peale and Copley portraits of colonial ladies and gentlemen; seascapes of Bricher and of Homer defining our eastern shores; the new light and forms Bierstadt and O’Keeffe found in the American West; and modernist Dove and impressionist Hassam depicting human alteration of the land in between.”

Virginia Quarterly Review

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