The publishing boom of the early twentieth century led to an entirely new vocation, that of art direction for editorial publications and advertising. In 1921, the recently formed Art Directors Club resolved to show that their profession involved more than just signage for selling products. Their exhibition of paintings and drawings, intended to prove their work worthy of artistic consideration, was judged by a jury that featured some of the era's most distinguished names in illustration and art, including Ashcan School painter Robert Henri; Charles Dana Gibson, creator of the "Gibson Girl"; and outstanding New York artist Joseph Pennell, among others. This reproduction of the exhibition's catalog offers a generous selection of more than 300 halftone images, accompanied by an appendix of the ads' corresponding sources. New to this edition are added pages of brilliant color reproductions of a selection of the best materials. Entries by leaders in the field include J. C. Leyendecker's ads for Arrow shirts, Maxfield Parrish's Mazda Lamp calendar pages, Franklin Booth's line art, and contributions by Norman Rockwell, Edward Penfield, N. C. Wyeth, and other luminaries. Students of art, illustration, and advertising as well as professional illustrators, historians, and anyone with an appreciation of advertising art will find this volume a richly evocative source of historic commercial art.

Is corporate investing in the arts and culture within communities good business? Written by an expert on the topic who ran the Corporate Art Program at Johnson & Johnson, the book sets out the case for business patronage of the arts and culture and demonstrates how to build an effective program for businesses to follow. As companies seek new ways to add value to society, this book places business support of the arts in a corporate social responsibility context and offers a new concept: Corporate Cultural Responsibility. It discusses the issues underlying business support of the arts and explores new avenues of collaboration and value creation. The framework presented in the book serves as a guide for identifying the key attributes and projected impact of successful and sustainable models. Unlike other books centered on the relationship of art and commerce, this book looks at the broader and global implications of Corporate Cultural Responsibility. It also usefully sets the discussion about the role of philanthropy and corporate social responsibility and the arts within an historical timeframe. As the first book to link culture to community responsibility, the book will be of particular relevance to corporate art advisors and auction houses, as well as students of arts management and corporate social responsibility at advanced undergraduate and postgraduate levels.

Often seen as backward-looking and convention-bound, genre painting representing scenes of everyday life was central to the work of twentieth-century artists such as John Sloan, Norman Rockwell, Jacob Lawrence, and others, who adapted such subjects to an era of rapid urbanization, mass media, and modernist art. Re-envisioning the Everyday asks what their works do to the tradition of genre painting and whether it remains a meaningful category through which to understand them. Working with and against the established narrative of American genre painting’s late nineteenth-century decline into obsolescence, John Fagg explores how artists and illustrators used elements of the tradition to picture everyday life in a rapidly changing society, whether by appealing to its nostalgic and historical connotations or by updating it to address new formal and thematic concerns. Fagg argues that genre painting enabled twentieth-century artists to look slowly and carefully at scenes of everyday life and, on some occasions, to understand those scenes as sites of political oppression and resistance. But it also limited them to anachronistic ways of seeing and tied them to a freighted history of stereotyping and condescension. By surveying genre painting when its status and relevance were uncertain and by looking at works that stretch and complicate its boundaries, this book considers what the form is and probes the wider practice of generic categorization. It will appeal to students and scholars of American art history, art criticism, and cultural studies.