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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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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.