A beautiful overview of fascinating paintings of the classical world and the Holy Land by a beloved American artist Frederic Church (1826-1900), one of the leading painters of 19th-century America and the Hudson River School, also journeyed around the globe to find fresh inspiration for his highly detailed compositions. Among Church's lesser-known masterpieces are his paintings of the Middle East, Italy, and Greece, produced in the late 1860s through late 1870s, which explore themes of human history and achievement. Taking a closer look at this geographical and thematic shift in Church's practice, this handsome book brings together the artist's major paintings of Athens, Rome, Jerusalem, and the surrounding region. The essays concentrate on a set of six major paintings of architectural and archaeological marvels; one essay also spotlights Olana, Church's home in New York State, which reflects the influence of Middle Eastern design. This impressive volume stands apart in its new approach to the artist's work and its quest to determine why and how this quintessentially American figure was drawn to scenery and themes from the other side of the globe. Distributed for the Detroit Institute of Arts Exhibition Schedule: Detroit Institute of Arts (10/22/17-01/15/18) Reynolda House Museum of American Art, Winston-Salem, NC (02/08/18-05/13/18) Wadsworth Atheneum Museum of Art, Hartford, CT (06/03/18-08/26/18)

This beautiful book, companion publication to the exhibition of the same name, presents a complex overview of the life and career of the pioneering African American artist Henry O. Tanner (1859-1937). Recognized as the patriarch of African American artists, Tanner forged a path to international success, powerfully influencing younger black artists who came after him. Following a preface by David Driskell, the essays in this book - written by international scholars including Alan Braddock, Michael Leja, Jean-Claude Lesage, Richard Powell, Marc Simpson, Tyler Stovall, and Helene Valance - explore many facets of Tanner's life, including his upbringing in post-Civil War Philadelphia, his background as the son of a bishop in the African Methodist Episcopal church, and his role as the first major academically trained African American artist. Additional essays discuss Tanner's expatriate life in France, his depictions of the Holy Land and North Africa, and the scientific and technical innovations reflected in his oeuvre. Edited and introduced by Anna O. Marley, this volume expands our understanding of Tanner's place in art history, showing that his status as a painter was deeply influenced by his race but not decided by it. Contributors include: Brian Baade; Alan Braddock; Marcus Bruce; Adrienne L. Childs; Robert Cozzolino; David Driskell; Amber Kerr-Allison; Michael Leja; Jean-Claude Lesage; Anna O. Marley; Olivier Meslay; Richard Powell; Marc Simpson; Tyler Stovall; and, Helene Valance.

This book, featuring the life and works of Ralph Blakelock, situates him in the context of American art. Representing over twenty years of study and the examination of several thousand works attributed to him, "Beyond Madness" reveals the unusual nature of Blakelock's life story as it offers clear parallels to his painting. Largely self-taught and supported by few patrons, Blakelock regularly struggled with the financial pressures of supporting his nine children and pursuing his art. Called both brilliant and doomed, and institutionalized on and off for the last decade of his life, he nonetheless created some of the most beloved--and some of the most frequently forged--paintings in the American canon. As in the author's own time, modern assessments of his work are often colored by notions of Blakelock the man, leading to a paradoxical legacy of suffering and hope, obscurity and prominence. Taking Blakelock's art on its merits, "Beyond Madness" stands as a testament to the indefatigable spirit of art scholarship as well as a tribute to the artist and his enduring passion for the creative process. It finally casts new light on the life and character of Blakelock and on the nature of the incomparable art he contributed to the American tradition.

A beautiful presentation of fifty masterworks of late 19th- to mid-20th-century avant-garde European art from one of America's most distinguished private collections Cezanne and the Modern showcases fifty masterworks of late 19th- to mid-20th-century avant-garde European art from the Henry and Rose Pearlman Collection, one of the most distinguished private collections of modern art in the United States. Among the iconic images represented are Paul Cezanne's Mont Sainte-Victoire, Vincent van Gogh's Tarascon Stagecoach, and Amedeo Modigliani's portrait of Jean Cocteau, as well as an outstanding suite of sixteen watercolors by Cezanne. The volume opens with Henry Pearlman's "Reminiscences of a Collector," a fascinating first-person narrative, newly annotated to identify key individuals and dates mentioned in the text. An essay by art historian Rachael Z. DeLue places Pearlman in the context of mid-20th-century American collecting, and a detailed chronology illuminates Pearlman's collecting practices in relation to noteworthy events in the art world. A series of sixteen brief essays by leading scholars focuses on each of the represented artists and their works, richly illustrated with sumptuous color plates, select details, and numerous comparative images. A comprehensive checklist documenting each of the works-including detailed provenance, exhibition history, bibliographic references, and commentary by a conservator-rounds out this handsome volume, which is published to accompany the first international tour of this important collection. Distributed for the Princeton University Art Museum Exhibition Schedule: Ashmolean Museum of Art and Archaeology, Oxford (03/13/14-06/22/14) Musee Granet, Aix-en-Provence (07/11/14-10/05/14) High Museum of Art, Atlanta (10/25/14-01/11/15) Vancouver Art Gallery (02/07/15-05/18/15) Princeton University Art Museum (09/12/15-01/03/16)

Early in the nineteenth century French art was largely rejected by British artists, critics and patrons. This rejection reflected both constant political opposition to France over the preceding 130 years and the growth of cultural nationalism in Britain. During the nineteenth century this hostility was gradually replaced by an acceptance and even enthusiasm for French culture, which transformed British art. This book charts the impact of French culture on British art and, to a lesser extent, the influence of British art in France during the nineteenth century. Thoroughly original, it is the first full overview of artistic and cultural relations between the two most important nations for the visual arts of the period. Political conflict between the two countries was replaced during the course of the century by a new internationalism and by a general acceptance of free trade. Romanticism was a common ideal. Cosmopolitan Whig collectors began to collect contemporary French art. The British and French royal families became interested in the art of the other country. French artists travelled to England often as refugees or as economic migrants. widely exhibited in England by enterprising dealers. French artistic training was greatly admired in Britain. French classicist idealism inspired English history painters, and French tonal naturalism was studied by British genre and landscape painters. British artists travelling in France admired many aspects of culture, life and landscape there. The Gothic Revival in England had important French connections. French naturalism in anatomy and technical expertise in bronze revived British sculpture. New serious English art periodicals devoted much space to French art. British moral objections to French art weakened. The new role of women in cultural life proved to be another link between the two nations. Previous studies of this subject have been largely confined to the importance of Romanticism and Impressionism; this book covers the entire field and offers an encyclopaedic account of all aspects of the British reception of French art in the nineteenth century. It will be a vital resource for all those working in the area for the foreseeable future.

Thousands of women pursued artistic careers in the United States during the late nineteenth century. According to census figures, the number of women among the ranks of professional artists rose from 10 percent to nearly 50 percent between 1870 and 1890. Examining the effects of this change, Kirsten Swinth explores how women's growing presence in the American art world transformed both its institutions and its ideology.

Swinth traces the careers of women painters in New York, Philadelphia, and Boston, opening and closing her book with discussion of the two most famous women artists of the period--Mary Cassatt and Georgia O'Keeffe. Perhaps surprisingly, Swinth shows that in the 1870s and 1880s men and women easily crossed the boundaries separating conventionally masculine and feminine artistic territories to compete with each other as well as to join forces to professionalize art training, manage a fluid and unpredictable art market, and shape the language of art criticism. By the 1890s, however, women artists faced a backlash. Ultimately, Swinth argues, these gender contests spilled beyond the world of art to shape twentieth-century understandings of high culture and the formation of modernism in profound ways.

In the voluminous scholarship that's been written on Paul Cezanne, little has been said about the twenty-four portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. In "Cezanne's Other: The Portraits of Hortense," Susan Sidlauskas breaks new ground, focusing on these paintings as a group and looking particularly at the differences that render many of them unrecognizable as the same person. She argues that Cezanne sidestepped the conventional goals of portraiture-he avoids representing a consistent, identifiable physiognomy or conventional feminine postures and does not portray the subject's inner life-making lack of fixedness itself his subject, which leads him ultimately to a radical reformulation of modern portraiture. Sidlauskas also upends the notion of Mme Cezanne as the irrelevant and absent spouse. Instead she reveals Hortense Fiquet Cezanne as a presence so crucial to the artist that she became the essential "other" to his ever-evolving "self." Coupling historical texts from philosophy, psychology, and physiology with more recent writings from women's and gender studies, cognitive psychology, and visual culture, Sidlauskas demonstrates that Mme Cezanne offered intimacy at arm's length for the painter who has been dubbed "the lone wolf of Aix."

Eunice Lipton was a fledging art historian when she first became intrigued by Victorine Meurent, the nineteenth-century model who appeared in Edouard Manet's most famous paintings, only to vanish from history in a haze of degrading hearsay. But had this bold and spirited beauty really descended into prostitution, drunkenness, and early death -- or did her life, hidden from history, take a different course altogether? Eunice Lipton's search for the answer combines the suspense of a detective story with the revelatory power of art, peeling off ayers of lies to reveal startling truths about Victorine Meurent -- and about Lipton herself.

A major new biography of James McNeill Whistler, one of most complex, intriguing, and important of America's artists This engaging personal history dispels the popular notion of James McNeill Whistler (1834-1903) as merely a combative, eccentric, and unrelenting publicity seeker. The Whistler revealed in these beautifully illustrated pages is an intense, introspective, and complex man, plagued by self-doubt and haunted by an endless pursuit of perfection in his painting and drawing. "[Sutherland] seeks to get behind the public Whistler . . . never judging or condescending to his subject. . . . The portrait of Whistler that emerges is complex and mysterious . . . a measured and scholarly account of an extraordinary life."-Ruth Scurr, Wall Street Journal "The first comprehensive biography of Whistler in at least a generation. . . . Sutherland skillfully captures Whistler's ambition, tenacity, and insecurity and presents his life in a narrative that does justice to both his triumphs and his failures."-Eleanor Jones Harvey, American Scholar

This book examines the overlapping worlds of art and medicine in late-nineteenth-century France. It sheds new light on the relevance of the visual in medical and scientific cultures, and on the relationship between artistic and medical practices and imagery. By examining previously unstudied sources that traverse disciplinary boundaries, this original study rethinks the politics of medical representations and their social impact. Through a focused examination of paintings from the 1886 and 1887 Paris Salons that portray famous men from the medical and scientific elite - Louis Pasteur, Jules-Emile Pean and Jean-Martin Charcot - along with the images and objects that these men made for personal and occupational purposes, Hunter argues that artworks and medical collections played a key role in forming the public face of scientific medicine. -- .

The first Sino-Japanese War of 1894-1895 was Japan's first modern war, and their first military action overseas for over 300 years. One notable result of this conflict was a huge burst in popularity for senso-e ("war pictures"), a genre of ukiyo-e which first evolved as a mutation of musha-e ("warrior pictures") with the need in the 1870s to document the contemporary conflicts which had raged in Japan as a result of the Meiji Restoration, in particular the Seinan War of 1877. Dozens of artists, from the celebrated to the obscure, added to the mass of images which circulated as the Sino-Japanese War progressed (an estimated 3,000 prints were created in just 10 months). Most of the scenes depicted were based on news reports sent back from the front, with artists rushing to replicate events as quickly as possible. The triptych, with its almost cinematic visual scope, was the preferred format for depicting such scenes of turmoil and carnage. Whilst there is a huge range in quality between the prints made by various artists, the very best senso-e of the Sino-Japnese War remain amongst the finest in ukiyo-e, providing a bold, if brief, resurrection for an artform which was in danger of dying out due to the advent of new imaging technologies. MASSACRES IN MANCHURIA features over 200 rare and exceptional Japanese woodblock prints of war. The artists featured in the book include Kiyochika, Gekko, Toshihide, Toshikata, Nobukazu, Chikanobu, Ginko, and numerous others - a list of many of the most outstanding ukiyo-e artists of the late Meiji period, each of whom used their immense artistic talent and imagination to brilliantly illuminate contemporary conflict as it unfurled.

The years following Mexican independence in 1821 were critical to the development of social, racial, and national identities. The visual arts played a decisive role in this process of self-definition. Mexican Costumbrismo reorients current understanding of this key period in the history of Mexican art by focusing on a distinctive genre of painting that emerged between 1821 and 1890: costumbrismo. In contrast to the neoclassical work favored by the Mexican academy, costumbrista artists portrayed the quotidian lives of the lower to middle classes, their clothes, food, dwellings, and occupations. Based on observations of similitude and difference, costumbrista imagery constructed stereotypes of behavioral and biological traits associated with distinct racial and social classes. In doing so, Mey-Yen Moriuchi argues, these works engaged with notions of universality and difference, contributed to the documentation and reification of social and racial types, and transformed the way Mexicans saw themselves, as well as how other nations saw them, during a time of rapid change for all aspects of national identity. Carefully researched and featuring more than thirty full-color exemplary reproductions of period work, Moriuchi’s study is a provocative art-historical examination of costumbrismo’s lasting impact on Mexican identity and history. E-book editions have been made possible through support of the Art History Publication Initiative (AHPI), a collaborative grant from the Andrew W. Mellon Foundation.

This book provides the most comprehensive survey of contemporary Palestinian art to date. The development of contemporary practice, theory and criticism is understood as integral to the concomitant construction of Palestinian national identities. In particular the book explores the intricate relationship between art and nationalism in which the idea of origin plays an important and problematic role. The book deconstructs the existing narratives of the history of Palestinian art, which search for its origins in the 19th century, and argues that Palestinian contemporary art demonstrates pluralistic, politically and philosophically complex attitudes towards identity and nation that confound familiar narratives of origin and belonging. The book builds upon theories of art, nationalism and post-colonialism particularly in relation to the themes of fragmentation and dispersal. It takes the Arabic word for Diaspora Shatat (literally broken apart) as a central concern in contemporary understanding of Palestinian culture and develops it, along with Edward Said's paradoxical formula of a 'coherence of dispersal' as the organising concept of the book. This aspect of contemporary Palestinian art is peculiarly suited to the conditions produced by the globalisation of art and we show how Palestinian artists, despite not having a state, have developed an international profile.

A theory of art may be many things, from a complex philosophical treatise to a few basic observations jotted down by an artist that illumine the direction of his work. The late eighteenth-and nineteenth-century writings gathered here were selected not because they completely formulate systems governing art, but because they were closely allied with artists responded, and some were composed by critics or historians who were in close touch with the artists and sought to explain their artistic goals.

This is volume 1: A-D, of a four-volume set. The complete four-volume set presents the careers of 320 women artists working in California, with more than 2,000 images, over the course of a century. Their work encompasses a broad range of styles-from the realism of the nineteenth century to the modernism of the twentieth-and of media, including painting, sculpture, drawing, illustration and print-making. While some of the profiled artists are already well known, others have been previously ignored or largely forgotten. Yet all had serious careers as artists: they studied, exhibited, and won awards. These women were trailblazers, each one essential to the momentum of a movement that opened the door for heartfelt expression and equality. Much of the information and many of the images in the book have never before been published. Artists are presented alphabetically; also included are additional primary sources that put the artists' work in context.

Mary Crovatt Hambidge (1885-1973) was an aspiring actress and a professional whistler on Broadway when she met Canadian-born Jay Hambidge (1867-1924), an artist, illustrator, and scholar. Their relationship would prove to be both a romantic and an artistic partnership. Jay Hambidge formulated his own artistic concept, known as Dynamic Symmetry, which stipulated that the compositional rules found in nature's symmetry should be applied to the creation of art. Mary Hambidge pioneered new techniques of weaving and dyeing fabric that merged Greek methods with Appalachian weaving and spinning traditions. The Hambidge Center for Creative Arts and Sciences, formed during the mid-1930s, provides an artists' community situated on six hundred rural acres in the north Georgia mountains where hundreds of visual artists, writers, potters, composers, dancers, and other artists have pursued their crafts. Dynamic Design details Jay Hambidge and Mary Crovatt Hambidge's cross-cultural and cross-historical explorations and examines their lasting contributions to twentieth-century art and cultural history. Virginia Gardner Troy illustrates how Jay and Mary were important independently and collectively, providing a wider understanding of their lives within the larger context of late nineteenth- and early twentieth-century art and design. They were from two different worlds, nearly a generation apart in age, and only together for ten years, but their lives intertwined at a pivotal moment in their development. They shared parallel goals to establish a place where they could integrate the arts and crafts around the principles of Dynamic Symmetry. Troy explores how this dynamic duo's ideas and artistic expressions have resonated with admirers throughout the decades and reflect the trends and complexities of American culture through various waves of cosmopolitanism, utopianism, nationalism, and isolationism. The Hambidges' prolific partnership and forward-thinking vision continue to aid and inspire generations of aspiring artists and artisans.

Revealing documents, reprinted from rare, limited edition, throw much light on the painter's inner life, his tumultuous relationship with van Gogh, evaluations of Degas, Monet, and other artists; hatred of hypocrisy and sham, life in the Marquesas Islands, much more. Twenty-seven full-page illustrations by Gauguin. Preface by Emil Gauguin.

Expone la contribucion de Jorge Manach (1898-1961) a la teoria del arte cubano, mediante el examen de Historia y estilo (1944), contentivo de cuatro textos: ""La Nacion y la formacion historica"", ""Esquema historico del pensamiento cubano"", ""El estilo de la revolucion"" y ""El estilo en Cuba y su sentido historico"". Se emplean conceptos de analisis como Electivismo, Larga Duracion y Teoria de la circunstancialidad historica del estilo, en virtud de precisar el metodo empleado por Manach, la concepcion historiografica que respalda su propuesta y el empleo del ensayo como soporte textual. Se enuncia la logica de la sistematizacion teorica realizada, para propiciar niveles de actualizacion en torno al volumen y se legitima el aporte de Jorge Manach a la teoria del arte a partir de la enunciacion de su teoria de la circunstancialidad historica del estilo. Presenta Introduccion, capitulos I y II, Epilogo y Bibliografia.

The American realist artist John Sloan (1871-1951) is best known for his portrayals of daily life in early 20th-century New York and as a member of The Eight and the Ashcan School, alongside peers like Robert Henri, Everett Shinn, and George Luks. Sloan's artistic approach was shaped by his experience as a commercial illustrator, a type of work that inaugurated his professional career--at newspapers like the "Philadelphia Press" and later for mass-market magazines--and which he pursued even after he turned his focus to painting. In "John Sloan: Drawing on Illustration," Michael Lobel explores the impact of Sloan's illustrating on his wider output, including his paintings, his drawings for the radical journal "The ""Masses," and his response to the watershed 1913 Armory Show. Illuminating the interaction between art and popular culture, this book provides an important new framework for understanding the modern genre of illustration, and in so doing touches on major 20th-century currents, including the rise and expansion of the mass media and the visual legacy of European modernism.

An engaging look at how the middle classes of fin-de-siecleVienna used innovative portraiture to define their identity During the great flourishing of modern art in fin-de-siecleVienna, artists of that city focused on images of individuals. Their portraits depict artists, patrons, families, friends, intellectual allies, and society celebrities from the upwardly mobile middle classes. Viewed as a whole, the images allow us to reconstruct the subjects' shifting identities as the Austro-Hungarian Empire underwent dramatic political changes, from the 1867 Ausgleich (Compromise) to the end of World War I. This is viewed as a time when the avant-garde overthrew the academy, yet Facing the Modern tells a more complex story of the time through thought-provoking texts by numerous leading art historians. Their writings examine paintings by innovative artists such as Gustav Klimt, Oskar Kokoschka, and Egon Schiele alongside earlier works, blurring the conventionally-held distinctions between 19th-century and early-20th-century art, and revealing surprising continuities in the production and consumption of portraits. This compelling book features works not only by famous names but also by lesser-known female and Jewish artists, giving a more complete picture of the time. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London (10/09/13-01/12/14)

This absorbing book tells the story of Empress Eugenie (1826-1920), the wife of Napoleon III and the last Empress-Consort of France. Today she is remembered for her physical beauty, for her influence as a taste maker and for her glittering contribution to the second imperial court - but she outlived the Second Empire by half a century and lived in exile in England. The Empress bought the Farnborough Hill estate in 1880, following a decade of personal tragedy: the collapse of the Second Empire (1852-70), the death of Napoleon III, and the loss of her only child. The death of the Prince Imperial in 1879, aged 23, ended all hope of a Bonapartist restoration. With the imperial succession removed to another branch of the family, Eugenie resolved to create a permanent monument to her husband and son. This was her primary reason for moving to Farnborough. This book describes the little-known assemblage of art and architecture that she created there in the 1880s. Geraghty analyses the principal buildings on the imperial estate: Farnborough Hill itself, which was extensively remodelled for the court-in-exile that Eugenie maintained there from 1880 to 1920; and St Michael's Abbey, the spectacular domed mausoleum that the Empress built on an adjacent hill in 1883-88. These projects were entrusted to a French architect, Hippolyte Destailleur (1822-93), whose erudite designs situated the history of the Second Empire within the longer history of French architecture and design. Geraghty also provides the fi rst detailed account of the lost interiors of Farnborough Hill. He traces the origins of the collection back to the Second Empire, and - drawing upon historic photos, inventories, and sale catalogues - he shows how the collection was displayed in the principal rooms of the house. Primarily dynastic in purpose, the display included a major sequence of Bonaparte family portraits, including works by David, Gerard, Winterhalter, and Carpeaux. Eugenie also had an important collection of decorative arts, including Gobelins tapestries, Sevres porcelain, and royal French furniture. Composed by the Empress herself, the display at Farnborough Hill was the last manifestation of the 'Louis XVI-Imperatrice' mode of interior decoration that she had popularised in the 1850s. It was also, in its juxtaposition of modern and historic pieces, the final expression of the nouvelle sociabilite of the second imperial court. Finally, the book describes the breakup of the estate in 1927, when the house was sold to a convent school and the collection was dispersed at auction. Today, only the Mausoleum functions as Eugenie originally envisaged. Geraghty, however, recovers the totality of Eugenie's vision for Farnborough. In so doing, he describes how the Napoleonic ideal, for one final time, was made visible through art, architecture, and collecting.

"There's an inspiring and wacky solemnity in these organizations-high values reinforced through pageantry and performance in an ecumenical social setting-which deep down must also have been a whole lot of fun. Now it's as if that foundational Other America, that underpinning of the America we know, has gradually eroded, and here we remain, living in a world that is a mere shell, a movie set, of the world that made our world manifest, that brought it into being, and all we have left are these perplexing masks, banners, and costumes to puzzle over." -David Byrne, from the foreword Featuring more than two hundred outstanding objects gathered from private and public collections, As Above, So Below provides the first comprehensive survey of the rich vein of art created during the "golden age" of the American fraternal society. By the turn of the twentieth century, an estimated 70,000 local lodges affiliated with hundreds of distinct American fraternal societies claimed a combined five and a half million members. It has been estimated that at least 20 percent of the American adult male population belonged to one or more fraternal orders, including the two largest groups, the Freemasons and the Independent Order of Odd Fellows. The esoteric knowledge, visual symbols, and moral teachings revealed to lodge brothers during secret rituals inspired an abundant and expressive body of objects that form an important facet of American folk art. Lynne Adele and Bruce Lee Webb introduce the reader to fraternal societies and explore the function and meaning of fraternal objects, including paintings and banners, costumes and ceremonial regalia, ritual objects, and an array of idiosyncratic objects that represent a grassroots response to fraternalism. Setting the art in historical context, the authors examine how fraternal societies contributed to American visual culture during this era of burgeoning fraternal activity. Simultaneously entertaining and respectful of the fraternal tradition, As Above, So Below opens lodge room doors and invites the reader to explore the compelling and often misunderstood works from the golden age of fraternity, once largely forgotten and now coveted by collectors.

One of the most expressive artists of the Symbolism movement, Odilon (1840-1916) led a quiet life. Withdrawn in manner, conventional in dress, and virtually unknown for the first half of his career, the French painter and graphic artist drew upon his own startlingly complex and fantastic inner world to create haunting works that reveal an existence beyond that of everyday vision. He transformed common subjects and models into strange, eerie images and exhibited a predilection for spiders and serpents, skeletons and skulls, gnomes and monsters--all rendered in a distinctive style of controlled, delicate realism.
Redon's popularity arose chiefly among young progressive artists, who considered his works as visual correspondence to the literary symbolism of Mallarme. Modern devotees regard Redon's translation of the subconscious world of dreams into visual reality as a precursor to Surrealism. This modestly priced volume offers a rich compilation of the influential artist's graphic works, with 209 illustrations -- 72 lithographs, plus 37 etchings and engravings -- depicting unforgettable scenes of fantasy and mystery.

An exploration of 200 years of Shaker design and spirituality, with new attention to Shaker influence on contemporary design Reaching an apogee of 6,000 members in the years just before the Civil War, the Shaker movement was the most extensive, enduring, and successful utopian society ever established in America. Leaving Manchester, England, in 1776 to avoid persecution, the Shakers crossed the Atlantic and during the next 50 years established 19 villages from Maine to Kentucky. The Shakers were guided by the principles of utility, honesty, and order in both their work and worship, and this belief system influenced the physical expression of the goods they produced for use at home and for sale outside their communities. This lovely book presents a wide array of extraordinarily fine examples of Shaker furniture, household objects, textiles, religious drawings, and items made to sell to the "world's people" (non-Shakers). The book's expert contributors discuss Shaker design in relation to the furniture they constructed, the products they sold, their gift drawings and spirituality, and their rejection of American Fancy design. The book also considers the powerful inspiration Shaker design has provided for diverse modern and contemporary designers, including George Nakashima, Roy McMakin, Thomas Moser, and Scandinavian furniture makers.

Artist in Exile is the first in-depth, illustrated exploration of the life and work of Anne Marguerite Josephine Henriette Rouille de Marigny, Baroness Hyde de Neuville (1771-1849), who arrived in America in 1807 as a refugee from Napoleonic France and embarked on an extraordinary journey of discovery. Her unparalleled, beguiling, watercolors and drawings--over 200, made while traveling through seven countries and on the high seas, published here together with previously unpublished documents and letters--provide an invaluable historical visual record of the early years of the American Republic and its racially diverse population. From this exciting material Henriette emerges as a cosmopolitan artist who exerted her influence in political and social circles on both sides of the Atlantic, courageously traversing the European continent, unescorted, to beg Napoleon to spare her husband's life.Neuville's status as a woman, and an outsider, made her a particularly keen and sympathetic observer of individuals from a range of socioeconomic and ethnic backgrounds. She drew the earliest ethnographically correct images of indigenous Americans, together with vistas predating the works of other traveler-artists, and long-vanished buildings. Although she arrived in America as an outcast, by the end of her second residency, as the celebrated wife of the French Minister Plenipotentiary, she was interacting with political leaders and making her mark on society in Washington, DC and New York City. Artist in Exile tells her compelling story.