An insightful and essential new survey of Wyeth’s entire career, situating the milestones of his art within the trajectory of 20th-century American life This major retrospective catalogue explores the impact of time and place on the work of beloved American painter Andrew Wyeth (1917–2009). While previous publications have mainly analyzed Wyeth’s work thematically, this publication places him fully in the context of the long 20th century, tracing his creative development from World War I through the new millennium. Published to coincide with the centenary of Wyeth’s birth, the book looks at four major chronological periods in the artist’s career: Wyeth as a product of the interwar years, when he started to form his own “war memories” through military props and documentary photography he discovered in his father’s art studio; the change from his “theatrical” pictures of the 1940s to his own visceral responses to the landscape around Chadds Ford, Pennsylvania, and his family’s home in Maine; his sudden turn, in 1968, into the realm of erotic art, including a completely new assessment of Wyeth’s “Helga pictures”—a series of secret, nude depictions of his neighbor Helga Testorf—within his career as a whole; and his late, self-reflective works, which includes the discussion of his previously unknown painting entitled Goodbye, now believed to be Wyeth’s last work.

Andrew Wyeth: In Retrospect

Arts & Photography

ADAMS, HENRY

Lewis, Audrey

Stoner, Joyce Hill

Shaw, Gwendolyn DuBois

Podmaniczky, Christine

Junker, Patricia

Baumgartner, Karen

Crosman, Chris

Landa, Mary

Takahashi, Shuji

History & Criticism

Yale University Press

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<li>The first examination of the evocative paintings of the self-taught African American artist Horace Pippin in over twenty years</li>
<li>Accompanies a major exhibition at the Brandywine River Museum of Art April 25 - July 19, 2015</li>
</ul>
"A real and rare genius, combining folk quality with artistic maturity so uniquely as almost to defy classification." - Alain Locke
Horace Pippin's response to the question of what made him a great painter: "I paint it the way I see it." This exciting new publication will look closely at Pippin (1888-1946) as an artist who was embraced by the art world, yet remained independent, creating and upholding a unique aesthetic sensibility while also candidly, if subtly, expressing his opinions on a wide range of social issues. A self-taught master of form, color and composition, Pippin vividly depicted a range of subject matter, from scenes of war, history and religion, to sporting scenes, floral still lifes and intimate family moments. Accompanying a major exhibition at the Brandywine River Museum of Art, the book will be the first examination of the artist's work in twenty years and is an opportunity to re-examine Pippin with fresh eyes. His development as a self-aware, self-taught artist will be explored in-depth, looking at the rich pictorial language and multi-layered narratives of his paintings. Fully illustrated with over 60 works from around the United States, the book will introduce a new generation of scholarly voices, speaking to such issues as influence, racial and religious politics, and narrative truths in history.
Institutions lending to the Horace Pippin exhibition include: Archives of American Art, Smithsonian Institution, Washington, D.C.; Allen Memorial Art Museum, Oberlin College, Ohio; Art Institute of Chicago; The Butler Institute of American Art, Youngstown, Ohio; The Carnegie Museum of Art, Pittsburgh; Chester County Historical Society, West Chester, Pennsylvania; Cincinnati Art Museum; Davis Museum at Wellesley College, Massachusetts; The Fine Arts Museums of San Francisco; Fort Wayne Museum of Art, Indiana; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; The Howard University Gallery of Art, Washington, D.C.; The Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York; Museum of Art, Rhode Island School of Design, Providence; Museum of Fine Arts, Boston; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Neuberger Museum, Purchase, New York; New Jersey State Museum, Trenton; Pennsylvania Academy of the Fine Arts, Philadelphia; Philadelphia Museum of Art; The Phillips Collection, Washington, D.C.; Reynolda House Museum of American Art, Winston-Salem, North Carolina; Robert Brady Museum, Cuernavaca, Mexico; The Schomburg Center for Research in Black Culture, Art &amp; Artifacts Division, New York Public Library; Wichita Art Museum, Kansas.

Horace Pippin: The Way I See It

Dolkart, Judith F.

Francis, Jacqueline

Monahan, e

Marshall, Kerry James

Scala Arts Publishers, Inc.

"The time is now! The DLOPI program gives emphasis to parents becoming more proactive, exercising their rights, assuming their responsibilities as adults, and seeking support from the community. This approach is the foundation for ensuring every child from every neighborhood can and will grow up to be healthy, happy and successful citizens."-T. Willard Fair, President and CEO Urban League of Greater Miami, Inc., Former Chairman, Florida State Board of Education "DLOPI is a brilliant approach to improving meaningful parent involvement in that it is grounded in common sense, yet highly innovative. It not only understands that parent involvement has many levels, but it puts that truth right up front with parents. It helps parents see what is most important in supporting their child's education, and leaves them room to become involved in ways that accommodate their talents, needs, and interests. All schools should adopt this innovative approach."-John Winn, Former Florida Commissioner of Education "I believe the Different Levels of Parent Involvement program is an excellent tool for enhancing and measuring parental involvement."-Reginald C. James, Superintendent, Gadsden County Schools, Quincy, Florida

Different Levels of Parent Involvement: A Road Map for Educators, a Guide for Parents

Education & Teaching

Schools & Teaching

CyPress Publications

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Books by Lewis, Audrey