In 1968 Detroit Receiving Hospital, through the generosity of Michigan artists and friends of the hospital, began an art collection designed to provide an environment colorful, attractive, and beneficial to patients, their families, and the hospital staff. Today, that collection includes more than a thousand works of art. The Healing Work of Art documents this amazing collection, highlighting the diversity of its holdings as well as its history.
Detroit Receiving Hospital's extensive and beautiful collection now consists of the major sculptures pictured on their Web site, as well as eight hundred paintings, works on paper, textiles, and crafts. Over the years, the collection has been broadened by the addition of African beadwork, tapestries from the United State of America, Africa, and Columbia, a site-specific Pewabic tile water fountain, and large photo murals in the Emergency Department. The collection, which continues to grow in scope and quality, retains its original purpose of lightening the burden of illness carried by patients and their families and is a source of great pride to all who work in the Detroit Medical Center.
Art enthusiasts as well as those interested in Detroit culture and history will appreciate the look at the collection in The Healing Work of Art.
Ida Applebroog (b. 1929) has received international acclaim for the complexly psychological sensibility of her large, multi-paneled paintings. The deceptive, childlike quality of her work masks sometimes startlingly violent themes. This book, which serves as catalog to a major upcoming exhibit at the Corcoran Gallery in Washington, D.C., showcases the work of the painter's productive past eleven years, and is among the most substantial collections of her art.
Trained as an artist, Irving Penn began photographing for Vogue in the 1940s, going on to become a versatile and accomplished image-maker. His photographs vary from portraits of the native peoples of Peru, New Guinea and Morocco to those of artists and writers, from stylish fashion editorials to nudes, and from still lifes of trash to gravity-defying still-lifes of Clinique cosmetics.
"4to, 192 pages. Full bound black cloth with DJ. Book is clean and solid with only a light yellowing to edges of paper from age. DJ shows some shelfwear with some creasing to top edge of back panel and end of the folds. there is a light stain visible on the backside of the DJ along the top edge of the back panel. Otherwise a very nice copy of this stated first edition put together for the Art Institute of Chicago in conjunction with the exhibition in 1998.
This presents the holdings of the Butler Institute of American Art in Youngstown, Ohio, USA. Founded in 1919, it houses a comprehensive collection of American paintings which range from the works of 18th-century portraitists to contemporary artists.
This publication accompanies a major exhibition organized by the Wadsworth Atheneum in Hartford, Connecticut, and the National Gallery of Australia. It features some fifty American and fifty Australian landscape paintings produced during the period when landscape became the focus for artists in both countries.In both traditions landscapes trace the ever-changing complexities of bringing what is known to the experience of the unknown, exploring the profound relationship that we have with the land on which we live. Many of America's finest landscape painters are represented, including Frederic Church, Thomas Cole, Albert Bierstadt, Winslow Homer, and William Merritt Chase. Australian artists include Joseph Lyatt, Augustus Earle, John Glover, Eugene von Guerard, Louis Buvelot, and Arthur Streeton, among others.
The abstract paintings of Jackson Pollock, Willem de Kooning, Barnett Newman, Lee Krasner, Clyfford Still, Helen Frankenthaler, and others revolutionized the art world in the 1940s and 1950s and continue to inspire passionate arguments to this day. What were these artiststrying to achieve? Who were the critical voices of the time that rallied public interest in Abstract Expressionism and sparked rancorous debate? Drawing on recent critical, historical, and biographical work, this lavishly illustrated book offers a sharp new focus on a pivotal art movement. It also presents an extensive commentary on the two most influential critics of postwar American artClement Greenberg and Harold Rosenbergwhose powerful views shaped perceptionsof AbstractExpressionism and other contemporary art movements. In one essay, Norman L. Kleeblatt traces the influence of Abstract Expressionism into the mid-1970s and examines its connection to subsequent art styles. Other essays range fromthe literary and intellectual culture of New York during that period and an analysis of sculpture and representation to a discussion of Jewish issues in relation to postwar American Art. In addition, the book features a magisterial essay by eminent critic Irving Sandler and a copiously illustrated cultural timeline by Maurice Berger."