George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry—including optics, psychology, physiology, and mathematics—with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape—the first in-depth examination of Inness's career to appear in several decades—demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...