LEADER 03530cam a2200397Ia 4500001 40394 005 20240621170404.0 008 991207s1986 xx r 000 0 eng d 035 (OCoLC)42948998 035 40394 049 LHMA 040 LHM |beng |erda |cLHM 090 NX180.F3 |bW55 1986 100 1 Whiting, Cécile, |d1958- 245 14 The response to fascism in American painting, 1933-1945 / |cby Cécile Marie Whiting. 264 1 [Place of publication not identified] : |b[publisher not identified], |c1986. 300 xv, 279 pages 336 text |btxt |2rdacontent 337 unmediated |bn |2rdamedia 338 volume |bnc |2rdacarrier 500 The 137 illustrations in original thesis not included in UMI photocopy. 502 Thesis (Ph. D.)--Stanford University, 1986. 504 Includes bibliographical references (pages 249-279). 520 Between the years 1933 and 1945 American painters ranging from members of New York radical circles to artists from the heartland of the United States reacted to the threat of fascism abroad. The artistic response to fascism, while uniform in its basic anti-fascist sentiment, was nonetheless not hegemonic: These painters devised many different stylistic and thematic anti-fascist strategies which conflicted with and influenced each other. The dissertation is a selective typology surveying six responses to fascism in American painting. The first chapter examines a precursor to anti-fascist painting: didactic illustrations printed in the American radical press in the early thirties which attempted to realize Soviet political and aesthetic goals. Chapter two focuses on two major Social-Realist paintings, one by William Gropper and the other by Peter Blume, in order to establish how American leftist painters adjusted to the political and cultural policies of the Popular Front. Chapter three examines five anti-fascist paintings by Stuart Davis, a leftist artist who attempted to reconcile anti-fascist politics with modern art. Chapter four looks at the anti-fascist response offered by the American Regionalist artists Grant Wood and Thomas Hart Benton; these artists used American myth and propaganda as a means to fulfill the liberal-traditionalist call to strengthen American patriotism. Chapter five returns to politically radical artists during the war years and describes the expansion of their esthetic beyond the bounds of pure propaganda into the realms of myth and allegory. The sixth and final chapter looks at Surrealist paintings of classical myths by Mark Rothko and Adolph Gottlieb executed during the war; these paintings both articulated the chaos and brutality of the war years and offered a sophisticated alternative for the use of myth in painting to that offered by Nazi, Regionalist, and Social-Realist artists. 530 Electronic version(s) |bavailable internally at USHMM. 533 Photocopy. |bAnn Arbor, Mich. : |cUMI Dissertation Services, |d1999. |e23 cm. 590 Dissertations and Theses 591 Record updated by Marcive processing 21 June 2024 650 0 Painting, American |y20th century. 650 0 Anti-fascist movements in art. 856 41 |uhttp://proquest.umi.com/pqdweb?did=745539451&sid=61&Fmt=6&clientId=54617&RQT=309&VName=PQD |zElectronic version from ProQuest 956 41 |uhttp://dc.ushmm.org/library/bib40394/8826273.pdf |zHosted by USHMM. 994 E0 |bLHM 852 0 |bstacks |hNX180.F3 W55 1986 852 |bwww 852 |bebook