The Susquehanna River is one of the great rivers of the United
States and one of the earliest to be explored. This handsome
book, fully illustrated in color, presents intimate and varied
views of its waters and landscape, by the many prominent American
artists who have gravitated there to paint it over the last
two and a half centuries including Benjamin West, Thomas Moran,
George Inness, Frederic Edwin Church, Jasper Francis Cropsey,
Sanford Robinson Gifford, Charles Demuth and such contemporary
masters as Mark Innerst, Debra Bermingham, Leonard Koscianski,
Randall Exon, Stephen Hannock, and many others. Includes essays
by art historians David Dearinger and Leo Mazow.
Before
1948: American Paintings in Georgia Collections by Donald
D. Keyes (Editor), Heidi Domescik (Editor), Jennifer Deprima
(Editor), Terry Kay (Introduction) – Hardcover: 123 pages
Publisher: Georgia Museum of Art (January 1999)
This publication commemorates the fiftieth anniversary of the
Georgia Museum of Art by illustrating and outlining the paintings
included in the anniversary exhibition. American works done
before 1948 were selected by Donald D. Keyes, curator of paintings,
and highlight artists such as John Sloan, Leon Kroll, Gilbert
Stuart, and Lilla Cabot Perry. Novelist Terry Kay contributed
the introduction.
Celebrating Florida presents for the first time
a full-color collection of 66 important paintings,
drawings, and prints of Florida-based art. Featuring
such artists as Winslow Homer, Louis Comfort
Tiffany, George Inness, William Glackens, Martin
Johnson Heade, Frank Shapleigh, and Herman Herzog,
the book highlights some of the world's most
significant artists, who came to Florida from
1823 to 1950 to capture the Sunshine State.
Essays by noted historians Wendell Garrett and
Erik Robinson discuss the settlement of Florida
and its birth as a state in 1845. Additional
essays present an aesthetic, historical, social,
and cultural overview of the significance of
the art as well as biographical information
about each artist.
Celebrating Florida is a Sesquicentennial
publication, part of the celebration of 150
years of Florida statehood.
Art in Florida: 1564-1945 The early
chapters document the artistic offerings of
early explorers and naturalists like Mark Catesby
and John James Audubon, as well as the Seminole
Indians and those who painted them, including
George Catlin and Charles Bird King. St. Augustine,
the first permanent settlement, also came to
be the first center of art in Florida. After
the Civil War, when Northerners began to flock
to Florida for health and pleasure, art found
a place in the thriving business of travel literature.
This drew artist like brothers Edward and Thomas
Moran, who began to paint the beauty of Florida.
In the 1880s, St. Augustine, through the efforts
of Henry Morrison Flagler, again became the
center of artistic endeavor, attracting artists
like Martin Johnson Heade. At the end of the
century many prominent American artists arrived
and painted the Florida they found. This included
Frederic Remington, George Inness, Hermann Herzog,
and Winslow Homer. In the first half of the
twentieth century, Florida paintings were created
by such notables as John Singer Sargent, Jane
Patterson, Martha Walter, Milton Avery, William
Glackens, Ernest Lawson, Harold Betts, Frank
Weston Benson, Ralston Crawford, and Andrew
Wyeth. The final chapter covers government-sponsored
art in the 1930's, including murals in public
buildings and the Index of American Design.
Collected here are 160 illustrations of Florida
art, 100 in color. The illustrated paintings
were gathered from public and private collections
all over the country, many reproduced here for
the first time. Taos
Artists and Their Patrons, 1898-1950
by Dean A. Porter, Teresa Hayes Ebie, Suzan
Campbell – Hardcover, 400 pages (May 1999)
Snite Museum of Art
Reader review: Taos Artists and Their
Patrons is probably the finest study to appear
devoted to a single school of painting, that
which arose in Taos in New Mexico at the end
of the nineteenth century. The authors have
thoroughly investigated all aspects of patronage—exhibitions,
individual advocates, institutional support,
and many other forms. At the same time, they
have presented what must be the finest study
of the work of the artists active in Taos, embellished
by a wealth of marvellous images, beautifully
reporduced. The book enjoys three major accomplishments:
it is a definitive study of the nature of American
art patronage; it is a thorough review of one
of the most important regional schools of art
in this country; and it's a fabulous read!
Focusing on the rich heritage of art-making in the eighteenth
century, this lushly illustrated book positions both well-known
painters and unknown artisans within the framework of their
economic lives, their families, and the geographies through
which they moved as they created notable careers and memorable
objects. In considering both painting and decorative arts simultaneously,
Art in a Season of Revolution departs from standard practice
and resituates painters as artisans. Moreover, it gives equal
play to the lives of the makers and the lives of the objects,
to studying both within the interdependent social and economic
webs linking local and distant populations of workers, theorists,
suppliers, and patrons throughout the mercantile Atlantic.
American
Paintings of the Eighteenth Century (A Publication of
the National Gallery of Art, Washington) by Ellen G. Miles,
Patricia Burda, Cynthia J. Mills, Leslie Kaye Reinhardt –
Hardcover: 440 pages Publisher: Oxford University Press, USA
(January 11, 1996)
The National Gallery's collection of eighteenth-century American
paintings includes some of its greatest treasures and most beloved
national icons. John Singleton Copley's Watson and the Shark,
Gilbert Stuart's The Skater (Portrait of William Granti) and
George Washington (Vaughan portrait)--as well as his portraits
of the first five presidents of the United States, the so-called
Gibbs-Coolidge portraits--and Edward Savage's Washington Family.
Ellen G. Miles, curator of painting and sculpture at the National
Portrait Gallery, Smithsonian Institution, presents new research
culled from letters, wills, and other previously unpublished
documents that offer a fresh perspective on the artists and
sitters, as well as new insight into the paintings. (This publication
is made possible by a grant from the Henry Luce Foundation).
Just before the Civil War, the entrepreneur James B. Johnston
(1822-1887) commissioned the beaux-arts architect Richard Morris
Hunt (1827-1895) to design a building on Tenth Street in New
York City for the sole purpose of housing artists' studios (some
with living quarters) as well as a communal space for exhibitions.
This concept was entirely new to the city's artistic community,
and when the building was finished in January 1858, it quickly
achieved prominence among a wide circle of artists, architects,
designers, art dealers, collectors, and critics. This book accompanied
a 1997 exhibiton by that same name at the Parrish Art Museum.
The 150 objects in the exhibition include paintings, prints,
and photographs representing the work of artists who lived and
worked there as well as the building itself.
Hunt's innovative but entirely logical design for the three-story
building, provided for some twenty-three studios around a central
exhibition space that rose two stories and was topped by a glass
ceiling. In 1871 a photography studio was constructed in the basement,
and by 1873 the building was so fully occupied that an annex was
constructed next door. Tenants included not only artists but also
influential writers such as Henry T. Tuckerman and architects like
Hunt. At the outset the building was mostly occupied by American-born
and trained male landscape painters between the ages of nineteen
and forty-two. Among the best known early tenants were Emanuel Leutze,
Albert Bierstadt, and Frederic Edwin Church. Martin Johnson Heade
also had a studio here.
The history of fine painting in West Virginia has long been
overshadowed by the state's recognized excellence in the areas
of folk arts. This beautiful, museum-quality book corrects that
oversight, documenting the life and work of approximately 1,000
painters who worked in the state before about 1930. From the
early small-town portraitists, to the scores of prominent landscapists
who depicted the state's legendary beauty, to the West Virginia
masters of the modernist movements, native and visiting artists
have practiced every style of American art. This lavishly produced,
oversized book features hundreds of full-color reproductions
from museums and private collections around the world.
American Realism by Edward Lucie-Smith – Hardcover,
Harry N Abrams, 1994
American Realism is Edward Lucie-Smith's eloquent and interesting
discourse tracing the progress of American realist art from
the colonial period through postmodernism. It features a generous
250 illustrations and 115 gorgeous, full-color plates. Lucie-Smith's
underlying argument seems to be that realism more accurately
reveals the American character than does abstract expressionism
or minimalism. This premise is developed by examining specific
paintings and placing them in a cultural and historical context.
Of particular interest are the sections on Thomas Eakins, Thomas
Hart Benton, Ben Shahn, Philip Pearlstein, Andy Warhol, and
Eric Fischl. —Madeline Crowley
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Visions
of the Susquehanna: 250 Years of Paintings by American Masters
Celebrating Florida: Works of Art from the Vickers Collection
Art in Florida: 1564-1945
Taos
Artists and Their Patrons, 1898-1950
by Margaretta M. Lovell – Hardcover: 341 pages Publisher:
University of Pennsylvania Press (April 30, 2005)
Early
Art and Artists in West Virginia
American Realism 
