"The wide variety of selections from Frederic Edwin Church's collection of his own paintings shows the master in all phases of his career, in sketches and finished paintings, depicting the breadth of his subjects and the high technical skills that established him as an eminent and influential artist in his own time. As works he held on to or reacquired and kept in his house during his lifetime, they embody the heart of his artistic vision and convey a deeply personal slant. As pictures he hung and lived with at Olana, they tell the larger story of that extraordinary place and are as illuminating when seen in context as on their own." from the IntroductionFrederic Edwin Church (1826 1900) traveled the world, captured its beauty in countless paintings, and brought it home to live at Olana, his castle on the Hudson. The name was inspired by a reference Church found to a fortress or a treasury-storehouse in ancient Persia. This extraordinary selection of Church's paintings from his collection at Olana puts the most cherished of his treasures on full display in a volume that includes eighty color plates.Church's paintings, among the most acclaimed examples of art of the Hudson River School, are found in museums and private collections around the globe. However, Church kept some of his art close by during his lifetime. The rich collection that remains at Olana includes about seven hundred pieces, including notebooks, drawings, and oils, both sketches and completed canvases. They cover the full range of Church's career chronologically and thematically. The highlights from his personal collection are found in the touring exhibition that accompanies this book. The introduction by John Wilmerding and a substantial essay by Kevin J. Avery place the work into the context of Church's life and travels and examine Church's influences and the public reception of his art. Throughout Treasures from Olana, they discuss how profoundly Church's hilltop home and the surrounding landscape inspired and informed his work. His paintings, in turn, illuminate Olana more than a century after his death. The Olana Partnership, Hudson, N.Y., and New York State's Office of Parks, Recreation, and Historic Preservation, Albany, N.Y., organized Treasures from Olana: Landscapes by Frederic Edwin Church."

Frederic Church (1826 1900), who gained international renown for paintings such as Niagara (1857), Heart of the Andes (1859), Twilight in the Wilderness (1860), and The Icebergs (1861), was inspired by his extensive travel and study. His work was also informed by his appreciation of a new visual medium. Fire and Ice, a selection from the several thousand photographs and daguerreotypes Church collected at Olana, his Orientalist home on the Hudson River, provides insight into the interests and taste of one of nineteenth-century America's greatest painters.

Church was a boy of thirteen when the invention of photography was announced to the world. As a painter, he was of the first generation to grow up with photographs and consider them a useful adjunct to his work. Church collected photographs and daguerreotypes by early pioneers of the art, including Desire Charnay, Eadweard Muybridge, and Carleton Watkins. His collection appears to have served largely as a source of inspiration and armchair travel, reminding him of favorite locations and details of architecture, culture, and landscape.

In Fire and Ice, images from Church's collection are shown along with a selection of his own oil sketches, drawings, and archival materials. Some of the photographs are devoted to the varied geographical interests reflected in Church's art and travels: Central and South America, the Middle East, and the polar North. Others served as visual reference for the design and construction of Olana. Lavishly illustrated, Fire & Ice shows how the photographs in Church's collection echoed the principal stages of the painter's career."

The first major survey of the artist's work Highlights include Evolution (1992), his first mural-sized painting, and Manifest Destiny (2003-04), an ambitious large-scale work commissioned by the Brooklyn Museum of Art Rockman's ability to cross the boundary between fact and fiction appeals to both scientists and art critics Accompanies an exhibition at the Smithsonian American Art Museum, Washington, D.C., November 19, 2010 - May 8, 2011 Alexis Rockman: A Fable for Tomorrow traces the artist's career from Pond's Edge (1986) to The Reef (2009), with its timely reminder of the perils of off-shore oil drilling. Superficially easy viewing, Rockman's paintings subvert the optimism of the American dream with their mix of scientific precision and environmental degradation. This vividly illustrated volume highlights the attention to detail and striking use of color which give Rockman's work an almost cinematic impact that is seldom seen in contemporary art. His compelling mix of intensely colored realism, scientific detail and strong polemic, result in art that is both a demand for action and an elegy over what has been lost. Author Joanna Marsh worked closely with Rockman on the painting selection and convincingly links the various themes of the artist's work over three decades with the history of America's environmental movement. Contents: Foreword by Elizabeth Broun, director of the Smithsonian American Art Museum Acknowledgments Alexis Rockman: A Fable for Tomorrow by Joanna Marsh Plates Panoramas of the Post-Apocalypse: Rockman's Triptych, American Landscape, and Landscape Theater by Kevin J. Avery From Chameleons in the Curtains to Manifest Destiny by Thomas Lovejoy Accompanies an exhibition at the Smithsonian American Art Museum, November 19th, 2010 - May 8th, 2011. Joanna Marsh is The James Dicke Curator of Contemporary Art at the Smithsonian American Art Museum, Washington D.C. Kevin J. Avery is associate curator in the Department of American Paintings and Sculpture at The Metropolitan Museum of Art, New York. Thomas Lovejoy is a leading biologist and Biodiversity Chair, The Heinz Center for Science, Economics, and the Environment.

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)

The Metropolitan Museum of Art began acquiring American drawings in 1880 and has since amassed a spectacular collection of more than 1,400 works in watercolor, pastel, ink, graphite, chalk, and charcoal. This beautifully produced catalogue, the first volume in a series devoted to the museum's rich holdings, presents works by artists born before 1835, including such great American artists as John Singleton Copley, Thomas Cole, George Inness, and James Abbott McNeill Whistler.

In his introduction, Kevin J. Avery describes the acquisitions history of American drawings at the Metropolitan from 1880 to the present day. Marjorie Shelley writes on the materials and techniques used by American draftsmen from the eighteenth century until about 1875. The catalogue section of the book features 106 of the Museum's choicest drawings and watercolors, discussed in detail and reproduced in color. A checklist follows of the museum's complete collection of early works on paper, with black-and-white illustrations of 430 additional works and brief artist biographies.