In 1870, Albert Bierstadt painted one of the most novel subjects of his career: Puget Sound on the Pacific Coast. The canvas resulted from newly reawakened interest in a region the artist had visited only briefly seven years before. Although Bierstadt claimed to have painted "a portrait of the place," he had never actually made it to Puget Sound in 1863 and the painting has long been dismissed as another "superb vision of dreamland." This book reveals the fact-within-the-fiction of Bierstadt's spectacular, eight-foot-wide view of Puget Sound. It follows his travels around the Washington Territory in 1863, travels that were far more extensive than previously known. It identifies the artist's source material in Northwest Coast native artifacts, early historical accounts of the region, and the sketches he made on the Columbia River and Washington and Vancouver Island coasts. It compels us to reconsider the function of the painting--to see it not as a landscape, but as a historical work, a narrative of an ancient maritime people, and a rumination, on the ages-old mountains, basaltic rocks, dense woods, glacial rivers, and surf-pounded shores that have given this region its look and also shaped its culture.

Albert Bierstadt: Puget Sound on the Pacific Coast

Arts & Photography

Junker, Patricia A.

History & Criticism

University of Washington Press

Landscape is a subject of seemingly infinite variation and imaginative possibility. The Paul G. Allen Family Collection reveals a marked interest in innovative artists' reflections on the land and sea. The works in the collection span over four hundred years, chronicling key developments in painting and art history. This book uses the Allen Family Collection to explore the evolution of landscape painting through the ages. The artists in the collection represent a who's who of masters of the landscape tradition. The book opens with a series of masterpieces by Jan Brueghel that serve as a starting point for understanding the historical trajectory of landscape painting, before moving on to 18th-century artists Canaletto and Moran and Impressionists such as Cezanne, Van Gogh, and Monet. Rounding out the survey are works by modern and contemporary visionaries including Max Ernst, Thomas Hart Benton, Edward Hopper, and David Hockney. Thirty-nine paintings in all are featured in book, each accompanied by detailed essays that comprise a full discussion of the formal intellectual development of the landscape form.

Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection

Manchanda, Catharina

Prior, Mary Ann

Chapin, Mary Weaver

Taylor, Sue

Ishikawa, Chiyo

Carr, Dawson W.

Rorschach, Kimerly

Ferriso, Brian J.

Painting

Published to coincide with an exhibition of the nineteenth-century artist's fly-fishing paintings, an examination of the author's inspirations and works notes his use of watercolors and his insight into the sport that enabled him to convey its realities through his creations.

Winslow Homer: Artist and Angler

Gerdts, William H.

Burns, Sarah

Thames&Hudson

Published by the Museum in 1980. No Edition Stated. Illustrated paper cover, illustrated with b/w photos, 67 pages.

Promoted to glory: The apotheosis of George Washington : Smith College Museum of Art, Northampton, Massachusetts, February 22-April 6, 1980 : exhibition and catalogue

The Museum

Edward Hopper: Women focuses on a small interconnected group of paintings that set the course of the artist's successful career as a painter of the modern American scene. At the center of the group is Chop Suey (1929), which is among the very first of Hopper's paintings of the modern urban scene. Hopper revealed himself as an uncommonly close observer of people and places when in the 1920s he studied the interiors of New York restaurants and focused on the young women clientele that typically frequented them. It was with Chop Suey and related paintings that Hopper found his most potent, enigmatic subject in the American city--the modern American woman. What Hopper created in these early New York paintings was a look at a social dynamic that was reshaping the urban scene--the influx of young women into the modern work-a-day world. The book brings together a group of paintings that shows Chop Suey as a part of an extended narrative of human vulnerability that evolved as Hopper studied women in new kinds of social spaces in New York.

Edward Hopper: Women

Samara Museum of History Regional Stds

Few regions of the country produced such a distinctive group of artists with such a particular view on the modern world as did the Pacific Northwest in the 1930s and 1940s. Capitalizing on their particular geographical position at what was a modern art outpost ― working free from the strong influences of New York and Europe, and sitting at the portal to the Far East ― a close-knit group of artists sought to address the global political, social, and economic ills of their time. The seminal figures in this group ― Mark Tobey and Morris Graves especially ― quickly garnered critical attention in New York for their uncommon imagery and expressive technique, which drew upon spiritual tenents ranging from Zen Buddhism to the Persian Baha’i faith and their mastery of Asian calligraphy. Modernism in the Pacific Northwest presents an overview drawn from SAM’s unparalleled collection of the key figures of this generation: Mark Tobey, Morris Graves, Guy Anderson, Kenneth Callahan, Leo Kenney, Paul Horiuchi, George Tsutakawa, Phil McCracken, James Washington Jr., and Tony Angell.

Modernism in the Pacific Northwest: The Mythic and the Mystical

John Steuart Curry: Inventing the Middle West

Looks at paintings by the Kansas artist

ADAMS, HENRY

Nelson-Atkins Museum Of Art

Fine Arts Museums of San Francisco

Curry, John Steuart

Elvehjem Museum of Art

Individual Artists

Chazen Museum of Art

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Books by Junker, Patricia A.