For the first time, a set of distinguished American and British art historians consider the complex history of Anglo-American relations from the colonial period through to the 1960s * Features a transatlantic group of scholars considering the impact of this relationship on the history of art in both nations * Offers a set of new approaches, and much new material relating to the history of British and American art * Situates the history of British and American art in the context of recent scholarship, offering a new reading of this key artistic interaction

David Peters Corbett is Professor of Art History and American Studies at the University of East Anglia, and Editor of Art History. He has written widely on English and American art between 1850 and 1950, and has published most recently on the Ashcan School and on the problem of the past in the work of Charles Sheeler. Sarah Monks is Lecturer in Art History in the School of World Art Studies and Museology at the University of East Anglia. The author of Marine Painting in Britain, 1650-1850, and co-editor of Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768-1848, both forthcoming, she is currently working on a new book project concerning the relationship between British art and global commerce, experience and imperial ideology during the eighteenth century.

6 Notes on Contributors 8 Chapter 1 Anglo-American: Artistic Exchange between Britain and the USA David Peters Corbett and Sarah Monks 30 Chapter 2 The Wolfe Man: Benjamin West's Anglo-American Accent Sarah Monks 52 Chapter 3 Failure to Deliver: Watson and the Shark and the Boston Tea Party Jennifer L. Roberts 74 Chapter 4 Picturesque Nostalgia as Ironic Dislocation: Joshua Shaw's Disruptive Visions of the Old New World Kenneth Haltman 92 Chapter 5 Details of Absence: Frederic Church and the Landscape of Post-Emancipation Jamaica Jennifer Raab 110 Chapter 6 Troubled Abstraction: Whiteness in Charles Dana Gibson and George Du Maurier Jennifer A. Greenhill 132 Chapter 7 'In seen and unseen places': The Henry G. Marquand House and Collections in England and America Melody Barnett Deusner 152 Chapter 8 Camden Town and Ashcan: Difference, Similarity and the 'Anglo-American' in the Work of Walter Sickert and John Sloan David Peters Corbett 174 Chapter 9 Losing Sight: War, Authority, and Blindness in British and American Visual Cultures, 1914-22 David M. Lubin 196 Chapter 10 The Madness of Art: Georgia O'Keeffe and Virginia Woolf Alexander Nemerov 216 Chapter 11 'Strange Encounters': Claes Oldenburg's 'Proposed Colossal Monuments' for New York and London Jo Applin 236 Chapter 12 David Hockney: A Taste for Los Angeles Cécile Whiting 253 Index