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Barbara Groseclose is Professor andGraduate Chair in the Department ofthe History of Art at Ohio State University.She was a Distinguished Chairof American Studies in Utrecht (1994)and in Florence (2001) and a VisitingResearch Fellow at the University of Oxford(2006). Her major publications areNineteenth-Century American Art (2000)and British Sculpture and the CompanyRaj (1995).Jochen Wierich is Curator of Art atCheekwood Botanical Garden and Museumof Art. He has published articlesin such periodicals as Winterthur Portfolio,American Art, American StudiesInternational, and Film and History. Heis a contributing author to a number ofexhibition catalogues, including NewWorld: Creating an American Art (2007)and The Eight and American Modernisms(2009).Jacket illustration: Banner advertising “I LikeAmerica: Fictions of the Wild West” exhibitionat the Schirn Kunsthalle Frankfurt(photo: Jochen Wierich).Internationalizing the Historyof American ArtViews28 | penn state pressEdited by Barbara Grosecloseand Jochen WierichContributorsNew in Paperbackderrick r. cartwrightbarbara grosecloseserge guilbautAmerican art historydavid petersis a remarkablycorbettyoung, but rapidlygrowing, discipline. Membership in the Associa-andrew hemingwaytion of Historians of American Art, founded in 1979,sophie levychristin j. mamiyanow totals nearly 600. As a result of this growth, geo-marylin mckaygraphical and cultural borders no longer contain theveerle thielemansfield. American art history jochen wierich has become “international-rebecca zurierized,” represented by scholars and exhibitions aroundthe globe. While this international transmission andexchange of ideas will certainly prove to be valuable,the pennsylvania state university pressit has been left largelyuniversityunexamined.park, pennsylvaniaInternationalizingwww.psupress.orgthe History of American isbn: 978-0-271-03200-9 Art begins a critical examinationof this exchange, showing how it has becomepart of the maturation of American art history.In this volume, a distinguished group of scholarsconsiders the shaping and dissemination of thehistory of American art domestically and internationally,past and present, theoretically andpractically, from a variety of intellectual positionsand experiences. This examination indicates adirection for the field and a future historiographythat is shaped by international dialogue.256 pages | 15 illustrations | 7 x 10 | 2009isbn 978-0-271-03200-9 | cloth: $70.00 shisbn 978-0-271-03088-3 | paper: $35.00 shgrosecloseandwierichInternatIonalIzIng the hIstoryof amerIcan artviewspennstatepress(continued from front flap)Illustrated with more than 130 full-colorimages, the text will appeal to localhistorians, scholars of printing history, andthose studying visual and popular culture,advertising, and economic history. Thedepicted advertisements, cityscape and bird’seyeviews, disaster prints, and zoologicalillustrations document Philadelphia whileshowcasing the skilled work of the city’slithographers. Philadelphia on Stone highlightsthe finesse and allure of the lithographicprocess, which radically altered the visuallandscape of Philadelphia and the country.InternatIonalIzIng the hIstoryof amerIcan artAside from the editor, the contributors includeJennifer Ambrose, Donald H. Cresswell, Sara W.Duke, Christopher W. Lane, Michael Twyman,Dell Upton, and Sarah J. Weatherwax.erika piola is Associate Curator of Printsand Photographs at the Library Company ofPhiladelphia.viewsedited bybarbara grosecloseandjochen wierich“The Philadelphia on Stone project and thisaccompanying volume move the topic oflithography in Philadelphia forward in importantways, connecting business history, labor history, andthe consumption of prints to form a new basis forunderstanding the medium’s contributions to visualculture.”—helena wright,author of Prints at the Smithsonian“Philadelphia on Stone is a sumptuously illustratedbook that brings new discoveries and freshperspectives to the cultural history of Philadelphia.This broadly contextualized examination of printingexpands our understanding of the production andconsumption of visual culture in a major urbancenter.”—anne verplanck, Penn State HarrisburgCo-published with the Library Company of Philadelphiathe pennsylvania state university pressuniversity park, pennsylvaniawww.psupress.orgJacket illustration: John Caspar Wild, Panorama of Philadelphiafrom the State House Steeple (Philadelphia: Wild & Chevalier,1838), detail. Lithograph. Library Company of Philadelphia.“Here,we import everything.Laws, ideas, philosophies,theories, subjects of conversation,aesthetics, sciences, style,industries, fashions, mannerisms,jokes, everything comes inboxes on the boat.”—João da EgaAmerican art history is a remarkably young,but rapidly growing, discipline. Membershipin the Association of Historians of“Philadelphia on Stone demonstrates very clearly thekey role American that Philadelphia Art, founded played in in the 1979, history now of totalsAmerican lithography in the nineteenth century.nearly 600. As a result of this growth, geographicalstory that and encompasses cultural borders many different no longerThe eight essays interweave to tell a complex andcompellingaspects of the nineteenth-century lithographiccontain the field. American art history hasprinting trade: landscape prints and city views,portraits, become prints “internationalized,” that depict sensational news represented events, byillustrations for books and periodicals, and a vastpanoplyscholarsof advertisingand exhibitionswork. The biographicalaround theessaysglobe.on the While artist James this Queen international and the lithographer transmission andand publisher Peter S. Duval bring to life two menof extraordinary exchange talent of ideas who were will certainly responsible prove for to bePhiladelphia’s valuable, unique it has contribution been left to the largely evolution unexamined.Internationalizing have to say about lithography the History in of Ameri-of lithography. Much of what Erika Piola andher colleaguesPhiladelphia can Art is begins equally true a critical of lithography examination as it of thisdeveloped in other cities across the nation, and sothis book, exchange, which sets showing out to recount how it what has happened become partin a specific of the place, maturation comes very of close American to being art a history.comprehensive history of lithography in America asa whole. It is sure to become a classic.”—nancy In finlay, this volume, Curator of a Graphics, distinguished The Connecticut group ofHistorical Societyscholars considers the shaping and disseminationof the history of American art domesticallyand internationally, past and present,theoretically and practically, from a varietyof intellectual positions and experiences. Todo so, they draw on a literature that, collectively,constitutes a bibliography for the fu-isbn ISBN 978-0-271-05252-6ture of the field. Three sections—“AmericanArt and Art History,” “Display and Exposition,”and “Post-1945 Investments”—providethe structure in which the contributorsexamine the existing narrative frameworkfor the history of American art. This examinationindicates a direction for the field anda future historiography that is shaped by internationaldialogue.piolaphiladelphia on stone C O M M E R C I A L L I T H O G R A P H YIN PHILADELPHIA, 1828–1878pennstatepressC O M M E R C I A LL I T H O G R A P H Yedited by erika piola“this is themysteryof the art,which to theartist is nomystery atall, but aplain matterof rule, asdefinitelyfixed asgeometrycan make it.”I N P H I L A D E L P H I A,1828–1878— Public Ledger,July 1, 1853Philadelphia on StoneCommercial Lithography in Philadelphia,1828–1878Edited by Erika Piolacommerciallithographyon stonein philadelphia1828–1878“The Philadelphia on Stone project and this accompanyingvolume move the topic of lithographyPhiladelphia on Stone is the first work inover fifty years to examine the history ofnineteenth-century commercial lithographyin Philadelphia. The capstone to the LibraryCompany of Philadelphia’s multifacetedPhiladelphia on Stone project, this heavilyillustrated volume of thematic essays providesan analysis of the social, economic, andtechnological changes in the local tradefrom 1828 to 1878; biographies of premierlithographers P. S. Duval and James Queen;culture.”and new insights about genres of lithographspertaining to book illustration, advertising,sensational news, and landscape imagery.in Philadelphia forward in important ways, connectingbusiness history, labor history, and theconsumption of prints to form a new basis for understandingthe medium’s contributions to visual—Helena Wright,author of Prints at the Smithsonian(continued on back flap)“Philadelphia on Stone demonstrates very clearly thekey role that Philadelphia played in the history ofAmerican lithography in the nineteenth century.The eight essays interweave to tell a complex andcompelling story that encompasses many differentaspects of the nineteenth-century lithographicprinting trade: landscape prints and city views, portraits,prints that depict sensational news events,illustrations for books and periodicals, and a vastpanoply of advertising work. . . . Much of whatErika Piola and her colleagues have to say aboutlithography in Philadelphia is equally true of lithographyas it developed in other cities across thenation, and so this book, which sets out to recountwhat happened in a specific place, comes very closeto being a comprehensive history of lithography inAmerica as a whole. It is sure to become a classic.”—Nancy Finlay, Curator of Graphics,The Connecticut Historical Society320 pages | 134 color illustrations | 9 x 10 | 2012isbn 978-0-271-05252-6 | cloth: $49.95 shCo-published with the Library Company of Philadelphiawww.psupress.org | 29