Chicago, IL & London: The University of Chicago Press, Date: 1995. 1st Printing. Hardcover. Like New/Like New. 8vo or 8° (Medium Octavo): 7¾" x 9¾" tall. Andrea Federle-Bucsi (Book & Jacket Design). 427 pp. An excellent, spotlessly clean copy and dust jacket! Clean, fresh, sharp, tight, essentially flawless copy and dust jacket with crisp pages and clean text. 1995. The University of Chicago Press ISBN 0226063070 9780226063072 [US]

University of Chicago Press, Date: 1995-12-18. hardcover. Like New/Very Good. 6x1x9. 1995; Chicago; blue paper over gold cloth with black titles; mild wear; dust jacket is lightly worn at the edges; Interior is clean and unmarked; 8vo - over 7 3/4" to 9 3/4" tall; 427 pages 1995. University of Chicago Press ISBN 0226063070 9780226063072 [US]

University of Chicago Press, Date: 1995-12-18. Hardcover. New. New. In shrink wrap. Looks like an interesting title! 1995. University of Chicago Press ISBN 0226063070 9780226063072 [US]

ISBN10: 0226063070, ISBN13: 9780226063072, [publisher: University of Chicago Press] Hardcover Norman Rockwell and Andy Warhol, J. C. Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.: these are some of the unexpected pairings encountered in Artists, Advertising, and the Borders of Art. In the first interdisciplinary study of the imagery and practices of commercial artists, Michele H. Bogart explores, in unprecedented detail, the world of commercial art?its illustrators, publishers, art directors, photographers, and painters. She maps out the long, permeable border between art and commerce and expands our picture of artistic culture in the twentieth century. From the turn of the century through the 1950s, the explosive growth of popular magazines and national advertising offered artists new sources of income and new opportunities for reaching huge audiences. Bogart shows how, at the same time, this change in the marketplace also forced a rethinking of the purpose of the artistic enterprise itself. She examines how illustrators such as Howard Pyle, Charles Dana Gibson, and Norman Rockwell claimed their identities as artists within a market-oriented framework. She looks at billboard production and the growing schism between "art" posters and billboard advertisements; at the new roles of the art director; at the emergence of photography as the dominant advertising medium; ...