When the young artist Everard Jean Hinrichs was looking for a new name, he chose "Sloane" as a tribute to his mentor John Sloane and "Eric" as homage to his greatest inspiration, America. This original collection of Eric Sloane's oil paintings spotlights his evocative depictions of the nation's landscape and material culture. Shimmering with immense historical and nostalgic appeal, it features nearly a hundred of the artist's finest paintings of locations ranging from New England to the American Southwest. A perfect introduction to Sloane's art, this fine anthology will also appeal to the painter's many longtime fans. Michael Wigley, whose Santa Fe gallery is a primary venue for Sloane's artwork, selected these images from an extensive legacy. Wigley also provides an informative commentary on the artist's techniques, and Mimi Sloane offers a warm reminiscence of her husband's life and lively career.
Focusing on ink-printed graphics, more than 6,000 examples are cited, ranging from the 15th to the 20th century. Works by many of the leading printmakers of the Western world are represented, including unique and exceedingly rare impressions by Durer, Rembrandt, Goya, Picasso, and many others.
Each of 100 entries discusses and illustrate a single print, several impressions, or portions of series. Information on the date, size, state, signature, inscriptions, catalogue raisonne numbers, watermark, provenance, and exhibition and publication history of each print precedes the extended text. An essay presents relevant biograhical detail, analysis of imagery, description or style, and critical comment. Also included is a list of 6000 other prints, arranged alphabetically according to nationality, medium, and artist; 290 of these prints are illustrated.
In 1916, Herschel V. Jones, a distinguished and passionate art collector, purchased 5,600 prints from William Mead Ladd of Portland, Oregon. Jones promptly gave his newly acquired etchings, engravings, woodcuts, and lithographs to The Minneapolis Institute of Arts and the museum's distinguished Ladd and Jones collection was born.In Herschel V. Jones, Lisa Dickinson Michaux sheds new light on the creation of this extraordinary collection. Through in-depth essays, she reveals Jones's ambitious goals as well as his tenacity--he requested anonymity from the museum until he had "secured rare additional prints to fill in the gaps, making it a collection that represents the entire history of the graphic arts." Eventually Jones added more than six hundred prints. This beautifully produced volume, abounding with full-color illustrations, reproduces over one hundred of the most important and interesting prints in the Institute's Ladd and Jones collection and paints a vivid picture of these pioneering collectors and the history of print collecting in America at the end of the nineteenth century. Lisa Dickinson Michaux is associate curator of prints and drawings at The Minneapolis Institute of Arts. Distributed for The Minneapolis Institute of Arts.
An American Point of View 18 the most comprehensive study to date on this collection which holds masterpieces of American art from Colonial Times to World War 11 including artists such as John Singleteton Copley. Frederick Edwin Church, Winslow Homer and Edward Hopper. Full--colour reproductions are paired with texts describing the works and placing them in a historical context. In addition to informative analyses of individual masterpieces in the collection. the catalogue includes two longer essays and many photographs of the two museums. The first essay explores the philosophy and experiences of Ambassador Daniel J. Terra. the establishment of his collection. and the creation of his two museums in America, The second essay traces the beginnings of the Giverny museum from 1986 to its opening in 1992 to its evolution over the past ten years with special attention given to Terra's goals. With an introduction written by American art specialist Wanda Corn and previously unpublished information on the selected works of art. this catalogue is a useful tool for scholars of American art, Its numerous reproductions and readable text. make it equally enjoyable as a summary of a major collec
Shows and describes French paintings that were taken from Germany to Russia at the end of World War II and have not been exhibited since
Spanish-born architect Santiago Calatrava has achieved considerable international acclaim in recent years with his breathtaking feats of engineering in the service of elegant and humanistic modern forms. While his most recent success was the much-lauded (and much-televised) stadium, velodrome, and other structures of the Athens Olympics, Calatrava first established his reputation as the preeminent engineer of our time with a stunning series of bridges designed for cities around the globe―Barcelona, Bilbao, Buenos Aires, Orl ans, Seville, Venice, and Jerusalem.
Recent years have witnessed the introduction of Calatrava's elegant forms to the American cityscape with designs for an innovative apartment tower and the much-anticipated World Trade Center Transportation Hub, both planned for lower Manhattan. But before these designs were unveiled, Calatrava completed the Quadracci Pavilion at the Milwaukee Art Museum, which Time named the best new design project of 2001. This beautifully illustrated monograph is a detailed exploration of a celebrated American architectural masterpiece.
Calatrava's spectacular cultural and civic projects have secured his place in the pantheon of world-class twenty-first-century architects. In addition to the Milwaukee Art Museum, he's celebrated for train stations in Zurich, Lyons, Lisbon, and Li ge; the Sondica Airport in Bilbao; the Tenerife Concert Hall in the Spanish Canary Islands; and the Valencia Science Museum, Planetarium, and Opera House.