<div>A beautifully illustrated account of the Impressionist experiment in the United States--showing how the French style was put to distinctly American use From the late 19th century to the Second World War, American painters adapted Impressionism to their own ends, shaping one of the most enduring, complex, and contradictory styles of art ever produced in the United States. This comprehensive book presents an original and nuanced history of the American engagement with the French style, one that was both richer and more ambivalent than mere imitation. Showcasing key works from public and private collections across the United States, this expansive catalogue contextualizes celebrated figures, such as Claude Monet (1840-1926) and William Merritt Chase (1849-1916), among their unduly overlooked--and often female--counterparts, such as Lilla Cabot Perry (1848-1933), Emma Richardson Cherry (1859-1954), and Evelyn McCormick (1862-1948). Essays from leading scholars of the movement expand upon the geography and chronology of Impressionism in America, investigating regional variants and new avenues opened by the experiment. Beautifully illustrated, this volume is a landmark event in the understanding of an important era in American art.</div>

America's Impressionism: Echoes of a Revolution

Arts & Photography

Burdan, Amanda C.

History & Criticism

Other Distribution

An essential look at American modernism as seen through the landscape painting of Thomas Hart Benton, Charles Demuth, Georgia O’Keeffe, Grant Wood, Andrew Wyeth, and many others. Paintings of New England coastlines, small-town Pennsylvania, Southwestern canyons, Midwestern farms, and other evocative landscapes fill the pages of Rural Modern. More than sixty modernist works, created between the wars, present an important and often overlooked history: how American painters adapted avant-garde styles like Cubism and Fauvism to reimagine familiar landscapes and develop a distinctively American modernist vernacular. Richly illustrated and with insightful essays by noted scholars, Rural Modern traces this development through a broad range of works by both lesser-known and widely celebrated artists, including Arthur Dove, Dale Nichols, Grant Wood, N. C. Wyeth, Charles Sheeler, Charles Burchfield, Marsden Hartley, and Stuart Davis. As important as the marvel of the twentieth-century city was to modernist artists such as these, many sought respite and even refuge in quieter, rural areas of the country, and soon helped to confirm modernism’s enduring nature.

Rural Modern: American Art Beyond the City

Whitney, Catherine

FAHLMAN, BETSY

Podmaniczky, Christine

Walz, Jonathan

Skira/Rizzoli

<div>A major monograph of the American realist artist, descendant of one of America's most revered artistic families, and painter of dark and uneasy subjects. This book traces a persistent vein of intriguing, often disconcerting, imagery over the career of renowned artist Jamie Wyeth (b. 1946), famous for his hyperrealist paintings of farm animals and Maine lighthouses. The focus in this volume is on the chilling thread that runs through his work, present but not overwhelming, and ever-evolving with his style and subjects. Whether he is introducing curious characters or surveying strange landscapes, Wyeth is at home with uneasy subjects and a master of the unsettled mood. Like his father, Andrew Wyeth, and grandfather N. C. Wyeth before him, Jamie Wyeth splits his time between the Brandywine River Valley of Pennsylvania and Delaware and the mid-coast of Maine. In these two locales Wyeth has passed through many "obsessions," as he calls his favored subjects: farm tools brimming with the potential for violence, eccentric portraits and unnerving figure studies, haunted places, and possessed plants and animals. In addition to the main essay, contributors explore the creation of similarly unsettling moods in film, dance, sound artistry, and classical music.</div>

Jamie Wyeth: Unsettled

Rusk, John

Kiley, Michael

Barker, Jennifer Margaret

Butler, Rena

Rizzoli Electa

American art underwent a transformation during the period 1940-55, and nowhere is that change better exemplified than in the work of Ralston Crawford (1906-1978). Crawford worked in a variety of media throughout his career, and his wartime and early postwar art ranged from designing camouflage and creating weather infographics for the US Army to documenting the detonation of the atomic bomb for Fortune magazine. This exciting new book explores Crawford's influences and the ideas and experiences he had during World War II and its aftermath, and chronicles a period of change, during which Crawford gradually moved away from celebrating feats of engineering and industrial development to creating imagery that was more abstract and far more personal, expressing the grief and anxiety of the postwar world.Crawford's painting during the 1930s had largely been a dazzling series of Precisionist works that reflected American advances in industry, engineering and technology. After the United States entered World War II, Crawford served in the Weather Division of the Army Air Forces. He created pictorial representations of weather patterns for airplane pilots, and was exposed to countless photographs of air crashes. He continued working as an artist throughout the conflict, receiving a commission to paint the Curtiss-Wright aircraft plant in Buffalo, New York, and, in 1946, an assignment to observe and record one of the atomic bomb tests at Bikini Atoll. These experiences had a profound impact on Crawford, and marked a major turning point in his life and art. Published to coincide with an exhibition opening at the Dayton Art Institute, Ralston Crawford: Air & Space & War presents a remarkable selection of Crawford's paintings, drawings, photographs and prints from this time. These vary from powerful images of chaos and devastation to ordered and precise paintings of airplane assembly at the Curtiss-Wright plant and cover illustrations and charts related to weather, flight and radar for Fortune magazine. The evolution of many of the works can be traced from photograph and drawing to the finished painting, revealing Crawford's decisions about form and space, which were informed by his experiences with airplanes and flight. Accompanying the artworks is a series of perceptive essays. Rick Kinsel considers Crawford's war years in the context of developments in both aviation and American art. Emily Schuchardt Navratil reflects on aerial views by Crawford and on his Curtiss-Wright commission. Amanda Burdan looks at Crawford's work for Fortune, while Jerry Smith surveys various American and European abstract renditions of airplanes and flight as a means by which to place Crawford's interest in aviation during World War II into a broader historical context. In the final essay, John Crawford examines the importance of photography in his father's work, and explores collage as both a compositional technique and as a term that may be used to describe the series of intense experiences that contributed to Crawford's development as an artist in the 1940s and early 1950s.

Ralston Crawford: Air + Space + War

Crawford, John

Kinsel, Rick

Schuchardt Navratil, Emily

Smith, Jerry N.

Individual Artists

Merrell Publishers

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Books by Burdan, Amanda C.