Ray Stanford Strong, West Coast Landscape Artist


Book Description

Throughout his long and prolific career, Ray Stanford Strong (1905–2006) strove to capture the essence of the western American landscape. An accomplished painter who achieved national fame during the New Deal era, Strong is best known for his depiction of landscapes in California and Oregon, rendered in his signature plein air style. This beautiful volume, featuring more than 100 color and black-and-white illustrations, is the first comprehensive exploration of Strong’s life and artistry. Through family papers, archives, photographs, and a two-year series of interviews conducted with the artist personally, Mark Humpal traces Strong’s journey from his childhood on an Oregon berry farm to his artistically formative years in New York and San Francisco. After moving back to the West Coast, Strong produced important works for the WPA, executed major diorama projects for two world expositions, helped organize the Santa Barbara Art Institute, and served as teacher and mentor for a new generation of plein air artists. But, as Humpal emphasizes, Strong distinguished himself by resisting the drumbeat of the avant-garde. During an era when many artists were experimenting with abstract expressionism, Strong never relinquished his personal vision and adherence to a more traditional style. With his outgoing personality, he forged friendships and associations with such prominent artists as Frank Vincent DuMond, Maynard Dixon, Ansel Adams, Frank Lloyd Wright, and John Steinbeck. Ultimately, Strong had little concern for his place in the sweep of art history. The proficiency he achieved through years of formal and informal study allowed him to craft a personal style difficult to categorize but unique and engaging. By expanding our understanding and appreciation of Strong’s artistic contributions, this book offers a fitting tribute to one of America’s finest landscape artists.







A President in Yellowstone


Book Description

On the morning of July 30, 1883, President Chester A. Arthur embarked on a trip of historic proportions. His destination was Yellowstone National Park, established by an act of Congress only eleven years earlier. No sitting president had ever traveled this far west. Arthur’s host and primary guide would be Philip H. Sheridan, the famed Union general. Also slated to join the expedition was a young photographer, Frank Jay Haynes. This elegant—and fascinating—book showcases Haynes’s remarkable photographic album from their six-week journey. A premier nineteenth-century landscape photographer, F. Jay Haynes, as he was known professionally, originally compiled the leather-bound album as a commemorative piece. As only six copies are known to exist, it has rarely been seen. The album’s 104 images are accompanied by captions written by General Sheridan’s brother, Colonel Michael V. Sheridan, who wrote daily dispatches that were distributed by the Associated Press. In his informative introduction, historian Frank H. Goodyear III provides background about the excursion and explains the historic and aesthetic significance of Haynes’s photographs. He then re-creates Arthur’s journey by reintroducing Haynes’s stunning images—along with Sheridan’s original captions—including views of the Tetons and other landmarks; portraits of President Arthur, General Sheridan, and fellow travelers engaged in activities along the route; and images of the Shoshone and Arapaho leaders who gathered to greet the visiting party. Published on the occasion of the reopening of the Haynes Photography Shop in Yellowstone, A President in Yellowstone offers a unique entry into the park’s storied past.




Frederic Remington


Book Description

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James Merrill


Book Description

"A biography of the acclaimed poet James Merrill"--




Corcoran Gallery of Art


Book Description

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.




Leon Gaspard


Book Description

Leon Shulman Gaspard (1882-1964) was an interesting addition to the New Mexico arts scene when he arrived in 1918. A Russian-born, French-trained veteran of the airborne campaigns of the Great War, he arrived physically diminished from a horrific plane crash that had put him in a French hospital for two years. Seeking a more hospitable climate, he arrived in Taos to find a vibrant arts community and an exotic blend of native, western, and Hispanic cultures. Having traveled widely throughout Russia, China, Mongolia, Tibet, Morocco, and Northern Africa as a fur trader, painter, army pilot and spy, Gaspard had a love of exotic cultures and a desire to document them artistically. Taos allowed him just such an opportunity, and he set out to paint the Native Americans in much the same way he had painted the native peoples of North Africa and Asia while in Paris. A pariah of sorts when he first arrived, Gaspard was saved socially when Herbert Dunton, one of the founding members of the Taos Society of Artists, took a liking to him and began to bring him around to meet his colleagues. A kindly and gregarious man, Gaspard eventually became accepted and well liked, and one of the most important of the many distinguished artists that made Taos their home in the early part of the twentieth century.




Marsden Hartley and the West


Book Description

A revelatory look at Hartley's New Mexico landscapes and the darker side of postwar American modernism Considered to be among the greatest early American modernists, the painter Marsden Hartley (1877-1943) traveled the United States and Europe in his search for a distinctive American aesthetic. His stay in New Mexico resulted in an extraordinary series of landscape paintings--created in New Mexico, New York, and Europe between 1918 and 1924--that show an evolution in style and thinking that is important for understanding both Hartley's oeuvre and American modernism in the postwar years. Marsden Hartley and the West examines this pivotal stage of the painter's career, drawing upon his writings and providing illustrations of rarely seen and previously unpublished works. The author considers Hartley's involvement with the Stieglitz circle and its "soil-and-spirit" philosophy, the Taos art colony, New York Dada, and the impact of historical events such as World War I. Within this setting she analyzes the pastels and oil paintings that suggest Hartley's increasingly ambivalent response to the land. Beginning with optimistic, naturalistic views, the New Mexico works grew progressively darker and more tumultuous, increasingly reflecting a sense of loss brought on by war. The paintings become a site where the landscapes of memory, self, and nation merge, while reflecting broader modernist debates about "American-ness" and a usable past.




The Modern West


Book Description

A fascinating and novel exploration of the transformative role played by the American West in the development of modernism in the United States Drawing extensively from various disciplines including ethnology, geography, geology, and environmental studies, this groundbreaking book addresses shifting concepts of time, history, and landscape in relation to the work of pioneering American artists during the first half of the 20th century. Paintings, watercolors, and photographs by renowned artists such as Frederic Remington, Georgia O'Keeffe, Ansel Adams, Thomas Hart Benton, Dorothea Lange, and Jackson Pollock are considered alongside American Indian ledger drawings, tempuras, and Dineh sandpaintings. Taken together, these works document the quest to create a specifically American art in the decades prior to World War II. The Modern West begins with a captivating meditation on the relationship between human culture and the physical landscape by Barry Lopez, who traveled the West in the artists' footsteps. Emily Ballew Neff then describes the evolving importance of the West for American artists working out a radically new aesthetic response to space and place, from artist-explorers on the turn-of-the-century frontier, to visionaries of a Californian arcadia, to desert luminaries who found in its stark topography a natural equivalent to abstraction. Beautifully illustrated and handsomely designed, this book is essential to anyone interested in the West and the history of modernism in American art.