New insights into the transformative work of this visionary modern artist accompany a comprehensive documentation of his paintings and assemblages Arthur Dove (1880-1946) was a major American modernist of the early 20th century. While he is tied to a circle of artists, including John Marin and Georgia O'Keeffe, who were associated with the preeminent photographer and art dealer Alfred Stieglitz, Dove's work is uniquely radical, anticipating the rise of abstract expressionism in the late 1940s. This catalogue raisonne surveys the artist's known paintings and assemblages, or "things," alongside an incisive essay on his work's critical reception, an illustrated chronology, and an extensive bibliography and exhibition history. Additional essays emphasize monumental works such as Fields of Grain as Seen from Train (1931), the magisterial Sunrise series (1936), and High Noon (1944), a culmination of his ongoing preoccupation with abstracting the ephemeral in nature. Previously unpublished materials and images advance the known corpus of Dove's work while ensuring that this is the most definitive publication on the artist to date. Elegantly and inventively designed, it is also the first book on the artist to illustrate all his extant paintings in color. Distributed for the Arthur Dove Catalogue Raisonne Project

Hans Hofmann (1880-1966) was a pivotal figure in Abstract Expressionism and stands as one of the most important characters of post-war American art. This ground-breaking catalogue raisonne of paintings, which has been painstakingly researched over sixteen years, is both an invaluable scholarly resource and a celebration of Hofmann's remarkable artistic achievements. Hofmann's long and productive career began in Paris in 1904 where the young artist absorbed the manifold influences of the city's avant-garde. Drawn back to Germany due to war, Hofmann, exempt from military service, opened an innovative school for art in Munich. The school's reputation spread internationally and, as the political situation in Germany deteriorated during the 1930s, Hofmann re-located his school to New York. The city, a center for emerging artistic talent, was the perfect environment for Hofmann to continue his teaching practice, which he did until 1958, when he devoted himself entirely to painting. Throughout his American years, Hofmann enlarged the expressive language of abstraction, through his innovative use of color, materiality and structure. This impressive three-volumed catalogue marks a milestone in the scholarship and understanding of Hofmann's huge contribution to twentieth-century art. Through insightful essays, meticulous catalogue entries and supporting academic apparatus, it is shown how Hofmann's exceptional body of work often defies categorization - his was a highly personal visual language with which he endlessly explored pictorial structures and chromatic relationships. Both visually stunning and academically robust, this publication is an essential purchase for all those with a keen interest in one of the twentieth century's most significant and original artists.