Cover image for The kingdoms of Edward Hicks
Title:
The kingdoms of Edward Hicks
Author:
Weekley, Carolyn J.
Personal Author:
Publication Information:
Williamsburg, Va. : Colonial Williamsburg Foundation, 1999.
Physical Description:
xvi, 254 pages : illustrations (some color) ; 29 cm
General Note:
"Abby Aldrich Rockefeller Folk Art Center."

Published "in association with Harry N. Abrams, Inc. Publishers."

Issued in connection with an exhibition originating at the Abby Aldrich Rockefeller Folk Art Center.
Language:
English
Added Author:
ISBN:
9780879352059

9780810912342
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library ND237.H58 W44 1999 Adult Non-Fiction Non-Fiction Area-Oversize
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Summary

Summary

Edward Hicks, one of the best-known folk artists of the nineteenth century, continues to be popular today. The author discusses his secular and religious concerns and shows how they influenced the creation of the "Peaceable Kingdom" and other paintings. Many examples of Hicks's art are beautifully reproduced in this generously illustrated volume.


Summary

Edwards Hicks (1780-1849), creator of the Peaceable Kingdom paintings, is among the best-loved American folk artists. Published to accompany a 1999 travelling exhibition in the US, this volume draws on the collection of Hicks's work at the Abby Aldrich Rockefeller Folk Art Center in Williamsburg, Virginia. The book integrates and discusses his secular and religious concerns (he was a Quaker minister) as they affected his artistic production.


Reviews 2

Library Journal Review

Although he is now seen as a progenitor of the "na‹ve" style, during his lifetime Edward Hicks (1780-1849) was known only as a devout, impoverished Quaker minister who liked to paint. With a few exceptions, his extant body of work is made up of 62 "Peaceable Kingdom" pictures, based on Isaiah's biblical prophecy. Although these paintings, known for their charmingly wide-eyed and sensuous beasts, use potent color and effective design, they are technically unsophisticated and repetitive in the extreme. But they contain a powerfully serene devoutnessÄa mood probably expressed in compensation for Hicks's guilt about an avocation viewed as frivolous by other Quakers. As the popularity of folk art boomed in the early 20th century, Hicks's homely visions were popularized and became the focus of scholarly attention, and this work is probably the best to date. Weekley, the director of museums at Colonial Williamsburg, shrewdly considers Hicks's "secular" life and art through the filter of his intense piety and copiously illustrates her large-format book with brilliant color plates. Recommended for academic libraries.ÄDouglas F. Smith, Oakland P.L., CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

This presentation of the rich legacy of traditional American artist Edward Hicks, prepared by Weekley (director of museums, Colonial Williamsburg Foundation, Virginia), is essentially a catalog with useful commentary that accompanied an exhibition mounted at the Abby Aldrich Rockefeller Folk Art Center in Williamsburg, a fine institution that curates important collections of American art, especially from early years of the nation. Some of Hicks's paintings, such as his 62-part series of "Peaceable Kingdom" paintings, are widely known and popular today. This book focuses primarily on the famed "Peaceable Kingdom" pictures, which for Hicks were his expressions and depictions of the tensions between a person's spiritual and religious feelings and the everyday outside world, grounded in the biblical writings of Isaiah. As the kind of art called "folk art" by many, the rural scenes may seem simplistic; however, these paintings are far from simple and they are certainly not naive. Hicks (1780-1849) was a Quaker minister and part-time artist whose works are today a valuable ingredient in any survey of American art. Highly recommended. General readers; undergraduates through faculty. H. W. Marshall; University of Missouri--Columbia


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