Glassware -- Catalogs. Glassware -- Connecticut -- Hartford -- Catalogs. Wadsworth Atheneum (Hartford, Conn.).

Glass from Six Centuries

Lanmon, Dwight

Wadsworth Atheneum

Poems: Wadsworth Handbook and Anthology [Jul 01, 1978] Main, Charles Frederick

Poems: Wadsworth Handbook and Anthology

Literature & Fiction

Main, Charles Frederick

Poetry

French Textiles from the Middle Ages Through the Second Empire

Carlano

In 1985, the 350th anniversary of the first permanent settlement by Europeans of Connecticut and the river valley bearing that name, Hartford's Wadsworth Atheneum staged an exhibition on the "Great River." It recognized that an important aspect of the historiography of New England: its cultural regions do not always coincide with its political regions. By bring various disciplines together for the first time, the Atheneum hoped to emphasize the cultural unity which characterized the region during its formative period. The exhibit and the research leading to it were the most comprehensive ever undertaken by the Museum. The exhibition represents an unusual approach to the study of the past, an approach inspired by several disciplines. The book and exhibition were conceived primarily as an effort to gain insight into the creations of Connecticut Valley's early artists, tradesmen, and mechanics. It depends on making the cultural context of these objects understood. For almost 100 years, the Connecticut Valley has been recognized as an area of regional culture by students of the arts and linguistics who have explored the overlapping distribution patterns of regional forms. The task is to explain why and for whom this regional style and aesthetics were created and by what methods they were disseminated. Approximately 370 objects were chosen from among 7,000 or more that were photographed during the course of field research preparatory to the exhibition.

The Great River; Art & Society of the Connecticut Valley, 1635-1820.

Folio highly pictorial survey of the Morgan collection of European decorative arts.

J. Pierpont Morgan, Collector

Biographies & Memoirs

In 1883 the painter Claude Monet first rented a house in the French town of Giverny. After purchasing the property and adjoining land, the artist transformed an existing small pond into a water garden with water lilies and a Japanese-style bridge from which he could observe the flowers. From 1899 to 1926, Monet painted more than 250 scenes devoted to the water lily theme, which became what he himself called "an obsession." This book explores the artist's devotion to this theme.The book features two essays and forty illustrations. In one essay, Eric Zafran details the development and expansion of Monet's garden, possible inspirations for its Japonesque style, and the observations of notable writers and photographers pertaining to this late passion of Monet. James Rubin, in his essay, discusses the setting of Monet's garden within the town of Giverny, the evolution of Monet's painting technique, specifically relating to the water lily paintings, and the place of this theme in the overall context of Monet's life and career.

Monet's Water Lilies: An Artist's Obsession

Arts & Photography

Zafran, Eric M.

History & Criticism

Catalog from inaugural exhibit at the Amistad Foundation Gallery in the Wadsworth Atheneum in Hartford Conn. This is a museum everyone should see once.

Facing the rising sun: 150 years of the African-American experience, 1842-1992

Hudson, Barbara A.

Stieglitz, O'Keeffe & American Modernism

Kornhauser, Elizabeth Mankin

Ellis, Amy

Lyons, Maura

One of the most prized segments of the Wadsworth Atheneum’s permanent collection is the large group of French 18th-century porcelains bequeathed by the renowned collector J. Pierpont Morgan. More than 250 individual pieces from the manufactories of Saint-Cloud, Chantilly, Villeroy-Mennecy, Vincennes, and Sevres are published in full in this catalog. Extensive research by the authors gives important insights into this impressive collection and significantly advances our knowledge of French porcelain. The catalogue has 200 entries and each is illustrated with over 90 color plates and more than 220 black-and-white photographs, with 400 thumbnail illustrations of the marks. Each entry covers the history of each piece, its form, usage, and decoration, and provides commentary on dating, style, and decorators. The porcelain has been arranged chronologically by type within each manufactory. An introductory essay further recounts the part played by J. Pierpont Morgan in acquiring the porcelain and other French decorative arts at the beginning of the twentieth century. Its glossary of terms and techniques and the full index add to the accessibility of the text.

French Eighteenth-Century Porcelain at the Wadsworth Atheneum: J. Pierpont Morgan Collection

Crafts, Hobbies & Home

Le Corbeiller, Clare

Roth, Linda H.

Antiques & Collectibles

Andrew Wyeth: Looking Beyond has been produced to accompany the exhibition of the same title held at the Wadsworth Atheneum Museum of Art, Hartford, CT, March 24 - July 22, 2012. Andrew Newell Wyeth was one of the most celebrated yet criticized American artists of the twentieth century. His lengthy career spanned nearly eight decades, but works from the 1940s and 1960s especially reveal an immensely productive period when Wyeth transitioned from watercolor painting to painting in egg tempera, which then became his primary medium. Coinciding with this shift, he honed a signature style: distinct and unusual perspectives applied to everyday subject matter. Andrew Wyeth: Looking Beyond takes inspiration from Wyeth's use of windows, half-opened doors, and views through rooms. These traditional romantic emblems of transition and yearning are given new meaning in Wyeth's somber and solitary images. In addition, a lesser known side of the artist is explored through a close examination of his creative process. When working through an idea for a composition, Wyeth utilized different media, such as pencil, watercolor, dry-brush watercolor, and ink. He employed varied techniques and styles to build an evocative image over time. The catalogue consists of two essays: In the first Erin Monroe presents an overview of the history of the Andrew Wyeth works in the collection of the Wadsworth Atheneum Museum of Art, and closely examines Wyeth's working methods and his use of windows and open doors to invite viewers to look into a distant realm--be it emotional or physical. In the second, Patterson Sims places Wyeth's art within the tradition of Northern European representational paintings up to the early twentieth century. Sims offers a fresh interpretation of the artist by further positioning him in a larger historical and artistic framework, including the American Regionalists, the Abstract Expressionists, the Magic Realists, and contemporary art.

Andrew Wyeth Looking Beyond

Monroe, Erin

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