Arthur Tress (b. 1940) is a singular figure in the landscape of postwar American photography. His seminal series, The Dream Collector, depicts Tress's interests in dreams, nightmares, fantasies, and the unconscious and established him as one of the foremost proponents of magical realism at a time when few others were doing staged photography. This volume presents the first critical look at Tress's early career, contextualizing the highly imaginative, fantastic work he became known for while also examining his other interrelated series: Appalachia: People and Places,; Open Space in the Inner City,; Shadow,;and Theater of the Mind. James A. Ganz, Mazie M. Harris, and Paul Martineau plumb Tress's work and archives, studying ephemera, personal correspondence, unpublished notes, diaries, contact sheets, and more to uncover how he went from earning his living as a social documentarian in Appalachia to producing surreal work of "imaginative fiction." This abundantly illustrated volume imparts a fuller understanding of Tress's career and the New York photographic scene of the 1960s and 1970s.

Timed with the centennial of the Panama-Pacific International Exposition (PPIE) of 1915, Jewel City presents a large and representative selection of artworks from the fair, emphasizing the variety of paintings, sculptures, photographs, and prints that greeted attendees. It is unique in its focus on the works of art that were scattered among the venues of the exposition-the most comprehensive art exhibition ever shown on the West Coast. Notably, the PPIE included the first American presentations of Italian Futurism, Austrian Expressionism, and Hungarian avant-garde painting, and there were also major displays of paintings by prominent Americans, especially those working in the Impressionist style. This lavishly illustrated catalogue features works by masters such as Winslow Homer, John Singer Sargent, Claude Monet, Paul Cezanne, Robert Henri, Edward Weston, Imogen Cunningham, Edvard Munch, Oskar Kokoschka, Umberto Boccioni, and many more. The volume also explores the PPIE's distinctive murals program, developments in the art of printmaking, and the legacy of the French Pavilion, which hosted an abundance of works by Auguste Rodin and inspired the founding and architecture of the Legion of Honor museum in San Francisco. A rich and fascinating study of a critical moment in American and European art history, Jewel City is indispensable for understanding both the United States' and California's role in the reception of modernism as well as the region's historical place on the international art stage. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young Museum, San Francisco: October 17, 2015 - January 10, 2016.

Accompanying a major retrospective of Anders Zorn's work, this is the first volume in English to explore the Swedish Impressionist's entire career in depth. Anders Zorn (1860-1920) is one of Sweden's most accomplished and beloved artists. Renowned for his light, expressive watercolors, he attained mastery of the genre at an early age and later applied his techniques to oil painting. Zorn is often compared with the artists John Singer Sargent and Joaquin Sorolla y Bastida, contemporaries who also were known for their portraits of high-society figures. Taking up residence in London and then in Paris, Zorn established himself as an international portrait painter, depicting fashionable clients in a style both elegant and relaxed. He became a favorite among wealthy American collectors, bankers, and industrialists who sat for him, including art collector Isabella Stewart Gardner and three U.S. presidents. Although perhaps best known for his portraits, Zorn brought equal skill to painting genre scenes and views of nature. This handsome volume provides a thorough introduction to the artist and his works, from portraiture to landscapes and his famous nudes. Four illustrated essays are accompanied by a chronology, selected bibliography, an exhibition checklist, and an index.

Claude Monet (1840-1926) is one of the best-known and most beloved painters in the history of art, with myriad publications and exhibitions devoted to his oeuvre. And yet there remains a previously undiscovered aspect of his career: his surprisingly significant role as a draftsman. This book is the first to focus on Monet's pastels, drawings, and sketchbooks, offering a revolutionary new interpretation of the artist's life and work. Monet has long been seen as an anti-draftsman, an artist who painted his subjects directly and whose rarely seen graphic works were marginal to his artistic process. In an effort to develop his public image, Monet denied the role of drawing in his working method. In actuality, Monet began his career as a caricaturist and as a teenager developed a passion for drawing that was never extinguished. He went on to master the medium of pastel and included seven in the first Impressionist exhibition in 1874. Citing recently discovered, unpublished documents that overturn the accepted image of the artist, The Unknown Monet reveals an extensive group of graphic works created over the course of the artist's career, many of which are unknown to the general public and to scholars: beautiful pastels, stunning black chalk drawings, and fascinating sketchbooks, which include pencil studies that relate to many of his paintings. The book also shows how Monet exploited the print media to promote his art. The most important publication on Monet to appear in a generation, this illuminating volume is essential to anyone interested in his work, Impressionism, and nineteenth-century French culture. Distributed for the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts Exhibition Schedule: Royal Academy of Arts, London (March 17 - June 10, 2007) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (June 24 - September 16, 2007)

A comprehensive survey of Arnold Genthe's legendary photography of San Francisco's 1906 earthquake and fireWhen disaster struck San Francisco on April 18, 1906, photographer Arnold Genthe grabbed a pocket camera and ventured out to document the destruction. Now, over a century later, the Achenbach Foundation for Graphic Arts presents the definitive collection of Genthe's historic photographs. For the first time ever, this important body of work is shown in its entirety with newly printed photographs from ultra-high-resolution scans created from the original negatives, an overview of Genthe's life, a mapping of his journey on that day, and a look at the aftermath of the disaster.

A beautifully produced volume devoted to a distinguished collection of European paintings, including an extraordinary group of French Impressionist works. This full-color catalogue features more than 70 of the most important nineteenth-century European paintings in the Clark Art Institute, including masterpieces by Monet, Pissarro, Sisley, Morisot, Manet, Degas, and Renoir. The book also includes earlier works by Corot and Millet, as well as academic paintings by artists such as Gerome and Bouguereau. Insightful essays by leading scholars of nineteenth-century European art are followed by lavish reproductions and illuminating catalogue entries about each work. James Ganz offers a fascinating introduction to Sterling Clark, an heir to the Singer sewing machine fortune, who along with his wife Francine founded the Sterling and Francine Clark Art Institute to house their important collection of European and American paintings, sculpture, drawings, and decorative arts. Richard Brettell discusses Clark in the context of other early-twentieth-century collectors such as Albert Barnes and Duncan Phillips. Published to accompany an international tour of the featured works, this handsome volume provides a superb overview of this extraordinary collection.

Previously announced Edouard Baldus (1813-1889) was the most important French architectural photographer of the mid-19th century. This book offers an in-depth exploration of one of his most intriguing projects-a remarkable series of views of the Chateau de La Faloise, in which his subject was not primarily the country house but the owner and his family at leisure on its grounds. James A. Ganz locates the photographs at a key moment in Baldus's career and during one of the most eventful decades in the history of French photography, showing that they stand at a crossroad between the English "conversation piece" and the birth of Impressionist portraiture in the early paintings of Monet and Bazille. Distributed for the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts