Impressions of Interiors: Gilded Age Paintings by Walter Gay

Arts & Photography

Taube, Isabel L.

History & Criticism

GILES

A highlight of over 300 pieces of work at the Art Museum

Cincinnati Art Museum Collections Highlights

The curators and curatorial assistants of the art museum

Past time Geology in European and american art

Patricia Phagan

Drawing on a wide range of Churchill’s personal correspondence, this title covers the great British wartime leader’s long and consequential relationship with the United States of America, and reflects in his own words his lasting admiration for the land, people, and institutions of the country that was the birthplace of his mother, Brooklyn born Jennie Jerome. Special attention is focussed on Churchill’s efforts to gain US support for Britain in the early years of World War II, in particular the Atlantic Conference on board the US Navy cruiser Augusta in Placentia Bay, Newfoundland on August 9th, 1941, where both Churchill and Roosevelt got to know each other much better, and established an unusually close political relationship through most of the war and the remainder of Roosevelt’s life. Rare correspondence is also included on specific operations, such as the aborted Operation Velvet (1942) and the Normandy Landings, as well as Churchill’s relationship with Harry Truman, strained at first, but which became ever stronger as the Cold War developed. The book includes an essay by Sir Martin Gilbert, one of our leading twentieth-century historians, and official biographer of Winston Churchill since the late 1960s, as well as a preface by Churchill’s daughter Mary Soames.

Churchill and the Great Republic

Biographies & Memoirs

GILBERT,Martin

Historical

he Declaration of Independence, Constitution, and Bill of Rights, known collectively as the Charters of Freedom, have guaranteed the rights and freedoms of Americans for over 200 years. This new book, published to accompany an exhibition at the National Archives, studies the dramatic events and philosophies which guided the Founding Fathers in the creation of these historic documents, the profound effect they have exercised on subsequent American history and their wider influence on world politics. Specially commissioned colour photographs of the newly reinstalled Charters feature alongside a selection of other original documents, which together include some of America’s greatest historical treasures. Additional images include colour plates of the restored murals, which adorn the renovated Rotunda, and paintings and engravings of the major figures and events in America history, which complement and enhance the original documents. Quotes from the nation’s founders and other historic figures are also included, together with an accessible narrative text arranged to reflect each of the fourteen sections making up the exhibit. Together these elements reveal the drama, passion and poignancy of the struggle for freedom that has defined much of US history.

The Charters of Freedom: "A New World Is At Hand": Declaration of Independence, Constitution, Bill of Rights

History

Bredhoff, Stacey

Americas

The art of the Impressionists has enduring appeal. Exhibitions on impressionism and impressionist artists continue to draw large crowds. Yet very little has been published that focuses on the intimate nature of much of impressionist art.Presenting over fifty works by major artists such as Bonnard, Corot, Cézanne, Degas, Van Gogh, Matisse, Monet, Renoir and Toulouse-Lautrec, and using the Ailsa Mellon Bruce Collection of small French paintings in the National Gallery of Art as its starting point,this beautifully illustrated new volume explores two important aspects of impressionism. First, it illustrates how artists like Monet, Pissarro, Degas, Cézanne, Sisley and Renoir sought to capture fleeting, everyday moments and objects that made up their own lives and those of the people around them: their immediate family, friends, servants and strangers. The scale and subject matter was in stark contrast to the paintings of the official Salon. In place of large-scale academic or neoclassical subjects the impressionists turned to self-portraits, flowers in a crystal vase, a view of dancers backstage, a sister at a window, or an interior just after dinnerworks that were once highly personal and introverted, wistful and dreamlike, transient and intimate in scale. Moreover, the author shows how the painting of earlier realist and landscape artists such as Corot, Rousseau, Boudin and Manet was absorbed into the small-scale impressionist works of an emerging generation of aspiring artists that included Monet, Renoir, Morisot and Pissarro. This highlights the second important feature of impressionism its central role within the development of later nineteenth-century French and European modern art. In an introductory essay and in thematic groupings of works the author shows how, when the first impressionist exhibition opened in April 1874, critics were shocked at the small scale,unfinished” nature of the paintings with their unmixed pigments and broken brush work, more akin to oil sketches. By the time of the last impressionist exhibition in 1886 the concept of what constituted a finished work had changed. Smaller, sketchier painting was increasingly admired for its freshness and immediacy of expression, and impressionism had given way to a radical reinterpretation by a new generation of artists. These included post-impressionists such as Seurat, Gauguin, Van Gogh and Cézanne;Vuillard and other members of the Nabis inspired by Gaugin; and, at the outset of the twentieth century Matisse, Derain and Duffy, known as the fauves” (wild beasts’), creators of highly coloured and emphatical brushworked paintings.

Impressionism, An Intimate View: Small French Paintings in the National Gallery of Art, Washington

Coman, Florence E.

This long-awaited publication presents one of the world’s finest collections of Dutch paintings, which come together for the first time in one volume as a major addition to existing scholarship on Dutch art. The volume presents over 100 paintings in colour, many including colour details. Each painting is accompanied by an artist’s biography, a detailed commentary, technical analysis, endnotes, bibliographic references, an exhibition history and full provenance. Over 140 comparative illustrations provide vital art historical context to the featured paintings. The range and scope of the works presented in this volume is truly impressive, from sedate church interiors and conventional landscape subjects to bawdy peasant interiors and magnificent still lifes.

Masters of Dutch Painting: The Detroit Institute of Arts

George S. Keyes

Arthur K. Wheelock Jr.

Susan Donahue

Alex Ruger

The range and scope of the works presented in this volume is truly impressive, from the ruggedness of Salvator Rosa’s landscapes and sweeping gestures and visual richness of Giovanni Domenico Tiepolo to the dramatic shadows and relief of Gentileschi. The volume features signature works by Canaletto, Caravaggio, Carlo Dolci, Artemisia Gentileschi, Guercino, Sebastiano Ricci, Salvator Rosa and Giovanni Domenico Tiepolo. To this day the works by Caravaggio, Gentileschi and Tiepolo in particular are recognized as masterpieces in which Italian baroque painting reached the pinnacle of its development in terms of visual excitement and movement.Works by lesser-known artists such as Gioacchino Assereto, Alessandro Turchi, Lorenzo de Caro and Filippo Falciatore also find their featured place as well alongside those of their great masters.

Masters of Italian Baroque Painting: The Detroit Institute of Arts

R. Ward Bissell

Andria Derstine

Dwight Miller

This long-awaited publication, the third in a series of titles co-published with the Detroit Institute of Arts, completes the study of American paintings in the museum's outstanding collection with 129 colour images of works by artist born after 1847. The American art collection at Detroit covers a broad range of artistic endeavours, but the strength of the American holdings is the painting collection. Especially strong are those paintings from the latter part of the 19th century and the beginnings of the 20th, which are the focus of this volume. Signature works featured in this book include Sargent's Madame Paul Poirson and Mosquito Nets, Chase's Yield of the Waters, Hassam's Place Centrale and Fort Cabanas, Havana, Dewing's The Recitation, Sloan's McSorley's Bar, and Hartley's Log Jam, Penobscot Bay.

Forging a Modern Identity: Masters of American Painting Born after 1847: American Paintings in the Detroit Institute of Arts, Vol. III

The Steven F. Udvar-Hazy Center building at Washington’s Dulles International Airport, the first phase of which opened in December 2003, represents the fulfillment of the Smithsonian Institution’s long-held ambition to build a specialist facility to house the National Air &amp; Space Museum’s ever-growing collection of commercial aviation and space artifacts. As early as the mid-1960s proponents of the NASM were suggesting that the newly built Washington Dulles Airport could meet the needs of the Smithsonian as the ideal location for the display and conservation of its huge aircraft collections held at its store in Suitland Maryland. In the end the Downtown site on the National Mall won the day, and in July 1976 one of the most popular museums in the world opened it doors, leaving many aircraft behind at a 21-acre Maryland site. This copiously illustrated volume tells the story of the building of the new Hazy Center building. Beginning with the project’s earliest conception and planning in 1993, when the US Congress approved $8 million for the design the Dulles Extension”, Lin Ezell celebrated author of Out of Harm’s Way, Moving America’s Lighthouse (2001) unfolds the story of the clearance of the site and the construction of the building designed by architects Hellmuth, Obata + Kassabaum. HOK remained true to the original concept a building that would meet the special needs of a large collection of air-and space craft, along with millions of visitors, but still fit the ambience of an airport. HOK’s solution was a dramatic yet incredibly elegant building, featuring a massive vaulted space, reminiscent of the old zeppelin hangars, to house 200 aircraft a second hangar” to house 135 space vehicles, together with specialist restoration facilities, research archives, an education center and Imax movie theatre some 760,000 square feet in all. Employing a lively and accessible mix of running text, special-feature sidebars and stunning large-format ground, installation and aerial photographs, as well as plans, photomontages, and detailed action” shots, the author brings to life the details of engineering and construction processes such as the raising of the massive main hangar roof and explores the challenges and demands faced by the project team, of which she was a key member.

Building America's Hangar: The Design and Construction of the Steven F. Udvar-Hazy Center

Ezell, Lin

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