Skip to Main Content
Sign In
Visit Apply Give
Toggle Navigation

Open the Navigation Management window, which can be used to view the full current branch of the menu tree, and edit it.

CONNECT
  • Donate
  • Facebook
  • Twitter
  • Email
  • Instagram

FACULTY Faculty

Image Picker for Section 0

​​​

 

 

University of DelawareNewark, DE 19716<div class="ExternalClassDCE28A7D9CF54657945C9A41C112462D"><p>​Professor Craven received his B.A. and M.A. at Indiana University, and was awarded a Ph.D. from Columbia University. During his long teaching career at the University he held the Henry Francis du Pont Winterthur Chair of Art History. He was the recipient of the distinguished Francis Allison Faculty Award and served as Chair of the Delaware State Arts Council. In 1995, he was elected to the prestigious College of Fellows of the Philadelphia Athenaeum. In 2008, the University conferred upon him an Honorary Doctor of Humane Letters Degree. A noted authority in American nineteenth-century art, Dr. Craven was among the pioneer scholars of his generation to establish the field of American art as a legitimate subject of scholarly investigation. His teaching and many books and articles helped to make the Department of Art History at the University of Delaware one of the prime national centers for the study of American art and culture. Among his publications, <em>Sculpture in America</em> (1968), which grew out of an exhibition curated by Dr. Craven at the Whitney Museum of American Art in New York, is the most thorough survey of American sculpture to date and is extensively used as a textbook on the subject. His <em>American Art: History and Culture</em> (1994) has become a classroom standard. His other books include <em>Colonial Portraiture in America</em> (1987); <em>Stanford White: Decorator in Opulence and Dealer in Antiquities</em> (2005); and <em>Gilded Mansions: Grand Architecture and High Society</em> (2008).​</p></div>waynec@udel.eduCraven, Wayne<img alt="Wayne Craven" src="/Images%20Bios/People/Faculty/craven-bio.jpg" style="BORDER:0px solid;" />Professor EmeritusAmerican ArtPh.D. Columbia University

 

 

Marble Halls: Beaux-Arts Classicism and Civic Architecture in the Gilded Agehttps://www.arthistory.udel.edu/Arth Bookshelf/craven-marble-halls.jpgMarble Halls: Beaux-Arts Classicism and Civic Architecture in the Gilded AgeCraven, WayneUniversity of Delaware PressNewark2017https://rowman.com/ISBN/9780692884218/Marble-Halls-Civic-and-Urban-Architecture-in-the-Gilded-Age<p><em>Marble Halls</em> is about the great civic buildings that were designed in the style of Beaux-Arts classicism during the Gilded Age (1865–1918) and about the City Beautiful movement that was intended to improve the setting for the buildings and the urban environment for the people. The Industrial Revolution, which arrived belatedly in the United States, provided the wealth required for grand architecture, and the classical Beaux-style was imported from Paris to serve as a veneer to a society that saw itself as brash and culturally unrefined. Major buildings, from New York City to San Francisco and from St. Paul, MN, to Jacksonville, FL, are discussed as the creations of architects such as McKim, Mead & White, Richard Morris Hunt, and Cass Gilbert with exteriors enhanced by the sculptures of Daniel Chester French and Augustus Saint-Gaudens. But the interiors, too, received rich ornamentation as America saw the rise of its first real school of mural painters whose work was often complemented by the art of the mosaic-maker and the stained-glass window-maker; the Gilded Age was the era that saw the formation of a national association of mural painters and a national sculpture society, as well as national, state and local agencies and commissions to oversee the quality of work in civic buildings. All collaborated to produce the glorious grandeur that Americans believed reflected their proper place as a new power that arose on the world stage, in politics, economics, and military adventurism. Federal buildings, state houses, court houses, train stations, libraries and art museums are discussed as contributors to the City Beautiful movement and to the assertive personality of the new American.<br></p>
Gilded Mansions: Grand Architecture and High Societyhttps://www.arthistory.udel.edu/Arth Bookshelf/craven-gilded-mansions.jpgGilded Mansions: Grand Architecture and High SocietyCraven, WayneW. W. NortonNew York2009http://books.wwnorton.com/books/Gilded-Mansions/<p>The Gilded Age (1865–1918) saw the sudden rise of America's first High Society, including such prominent families as the Astors, Whitneys, and Vanderbilts. As an aristocracy based on fortunes recently acquired, these families endeavored to live like Europe's blue-blooded nobility, shedding Puritan restraint as they joyously flaunted their new wealth—especially where their homes were concerned.</p><p>They erected French chateaus and Italian palazzos on New York's Fifth Avenue, at Newport, and elsewhere, often taking inspiration from Parisian styles of the Second Empire. They rejected more modest American styles just as they rejected middle-class society, and for interior decoration they turned to such artisans as Tiffany, Herter Brothers, and Allard's of Paris.<br></p>
Stanford White: Decorator in Opulence and Dealer in Antiquitieshttps://www.arthistory.udel.edu/Arth Bookshelf/craven-stanford-white.jpgStanford White: Decorator in Opulence and Dealer in AntiquitiesCraven, WayneColumbia University PressNew York2005https://cup.columbia.edu/book/stanford-white/9780231133449<p>​The designer of such landmarks as the Washington Square Arch, the New York Herald and Tiffany Buildings, and the homes of captains of American industry, Stanford White is a legendary figure in the history of American architecture. Yet while the exteriors and floor plans of his designs have been extensively studied and written about, no book has fully examined the other aspect of his career, which claimed at least half of his time and creativity. Wayne Craven's work offers the first study of Stanford White as an interior decorator and a dealer in antiques and the fine arts.</p><p>Craven also offers a vivid portrait of the sweeping social and cultural changes taking place in the United States in the late nineteenth and early twentieth centuries. He places White's work as an interior decorator within the context of the lives and society of the nouveaux riches who built unprecedented fortunes during the Industrial Revolution. Rejecting the dominant middle-class tastes and values of the United States, the Whitneys, Vanderbilts, Astors, Paynes, Mackays, and other wealthy New York families saw themselves as the new aristocracy and desired the prestige and trappings accorded to Old World nobility. Stanford White fulfilled their hunger for aristocratic recognition by adorning their glamorous Fifth Avenue mansions and Long Island estates with the sculptures, stained-glass windows, coats of arms, and carved fireplaces of the European past. Interior decorators such as White did more than just buy single pieces for these families. They purchased entire rooms from palazzos, chateaux, villas, nunneries, and country houses; had them dismantled; and shipped—both furnishings and architectural elements—to their American clients. Through Stanford White's activities, Craven uncovers the mostly, but not always, legal business of dealing in antiquities, as American money entered and changed the European art market.</p><p>Based on the archives of the Avery Architectural Library of Columbia University and the New-York Historical Society, this book recovers a neglected yet significant part of White's career, which lasted from the 1870s to his murder in 1906. White not only set the bar for twentieth-century architecture but also defined the newly emerging profession of interior design.<br></p>
American Art: History and Culture (rev. 1st ed.)https://www.arthistory.udel.edu/Arth Bookshelf/craven-american-art.jpgAmerican Art: History and Culture (rev. 1st ed.)Craven, WayneMcGraw-HillBoston2003https://www.mheducation.com/highered/product/american-art-history-culture-revised-first-edition-craven/M0072823291.html<p>​Wayne Craven presents art and artists within the context of their times, including insights into the intellectual, spiritual, and political environment.<br></p>
American Art: History and Culturehttps://www.arthistory.udel.edu/Arth Bookshelf/craven-american-brown.jpgAmerican Art: History and CultureCraven, WayneBrown and BenchmarkMadison, WI1994https://www.amazon.com/American-Art-History-Culture-1993-12-01/dp/B01N2ZIU12<p>Wayne Craven presents art and artists within the context of their times, including insights into the intellectual, spiritual, and political environment.<br></p>
Colonial American Portraiture: The Economic, Religious, Social, Cultural, Philosophical, Scientific, and Aesthetic Foundationshttps://www.arthistory.udel.edu/Arth Bookshelf/craven-colonial-portraiture.jpgColonial American Portraiture: The Economic, Religious, Social, Cultural, Philosophical, Scientific, and Aesthetic FoundationsCraven, WayneCambridge University PressCambridge1986https://www.amazon.com/Colonial-American-Portraiture-Wayne-Craven/dp/0521320445<p>In this book, art has been removed from the confines of a single discipline in order to study colonial American portraiture as a complex expression of society and the individual, as well as of artistic genius. Professor Wayne Craven shows that portraiture was a manifestation of the goals, ambitions, and characters of the persons represented. It is, therefore, necessary to establish a methodology for the analysis of images that incorporates the factors of economics, religion, socio-cultural heritage, and philosophical and scientific inquiry into the study of artistic style and aesthetics.<br></p>

Page Settings and MetaData:
(Not Shown on the Page)
Page Settings
Bio2
No
MetaData for Search Engine Optimization
University of Delaware
<a target="_blank" href="/Lists/Bios/AllItems.aspx" class="ms-promotedActionButton"> <span style="font-size:16px;margin-right:5px;position:relative;top:2px;" class="fa fa-pencil-square-o"></span><span class="ms-promotedActionButton-text">EDIT LIST</span> </a> <a target="_blank" href="/cas-it/utility/ir-bio" class="ms-promotedActionButton"> <span style="font-size:16px;margin-right:5px;position:relative;top:2px;" class="fa fa-crop"></span><span class="ms-promotedActionButton-text">CROP IMAGES</span> </a> <a target="_blank" href="/Images%20Bios/Forms/Thumbnails.aspx" class="ms-promotedActionButton"> <span style="font-size:16px;margin-right:5px;position:relative;top:2px;" class="fa fa-camera"></span><span class="ms-promotedActionButton-text">UPLOAD IMAGES</span> </a> <a target="_blank" href="/Documents Bios CVs/Forms/AllItems.aspx" class="ms-promotedActionButton"> <span style="font-size:16px;margin-right:5px;position:relative;top:2px;" class="fa fa-file-text"></span><span class="ms-promotedActionButton-text">UPLOAD CV'S</span> </a> WebPartEditorsOnly hideHeader bioPages
  • Department of Art History
  • University of Delaware
  • 318 Old College
  • Newark, DE 19716 USA
  • Phone: 302-831-8415
  • arthistory@udel.edu