James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music is the first full-length and in-depth study to position this painter within the overall trajectory of French modernism during the second half of the nineteenth century and to view the artist as integral to the aesthetic projects of its most original contributors. Suzanne M. Singletary maintains that Whistler was in a unique situation as an insider within the emerging French avant-garde, thereby in an enviable position to both absorb and transform the innovations of others - and that until now, his widespread influence as a catalyst among his colleagues has been neither investigated nor appreciated. Singletary contends that Whistler's importance rivals that of Manet, whose multi-layered (and often unexpected) interconnections with Whistler are the focus of one chapter. In addition, Whistler's pivotal role in linking the legacies of Baudelaire, Delacroix, Gautier, Wagner, and other mid-century innovators to the later French Symbolists has previously been largely ignored. Courbet, Degas, Monet, and Seurat complete the roster of French artists whose dialogue with Whistler is highlighted.

James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music is the first full-length and in-depth study to position this painter within the overall trajectory of French modernism during the second half of the nineteenth century and to view the artist as integral to the aesthetic projects of its most original contributors. Suzanne M. Singletary maintains that Whistler was in a unique situation as an insider within the emerging French avant-garde, thereby in an enviable position to both absorb and transform the innovations of others - and that until now, his widespread influence as a catalyst among his colleagues has been neither investigated nor appreciated. Singletary contends that Whistler's importance rivals that of Manet, whose multi-layered (and often unexpected) interconnections with Whistler are the focus of one chapter. In addition, Whistler's pivotal role in linking the legacies of Baudelaire, Delacroix, Gautier, Wagner, and other mid-century innovators to the later French Symbolists has previously been largely ignored. Courbet, Degas, Monet, and Seurat complete the roster of French artists whose dialogue with Whistler is highlighted.

A revelatory look at an underexplored chapter of American art, which took place not on American soil but in France "Reveals the fertile creative ground Americans discovered in Paris and beyond."-Judith H. Dobrzynski, Wall Street Journal, exhibition review In the late nineteenth and early twentieth centuries, American artists flocked to France in search of instruction, critical acclaim, and patronage. Some, including James McNeill Whistler, John Singer Sargent, and Mary Cassatt, became highly regarded in the French press, advancing their careers on both sides of the Atlantic. Others, notably William Merritt Chase, John Twachtman, Childe Hassam, and Thomas Wilmer Dewing-part of the association known as The Ten-found success working in the style of the French Impressionists, while Henry Ossawa Tanner, Cecilia Beaux, and Elizabeth Jane Gardner focused on genre and history subjects. This richly illustrated volume offers a sophisticated examination of cultural and aesthetic exchange as it highlights many figures, including artists of color and women, who were left out of previous histories. Celebrated scholars from both American and French institutions detail the complex history and diverse styles of these expatriate artists-styles ranging from conservative academic modes to Tonalism-and provide original perspectives on this fertile period of creativity, expanding our understanding of what constitutes American art. Published in association with the Denver Art Museum Exhibition Schedule: Denver Art Museum (November 14, 2021-March 13, 2022) Virginia Museum of Fine Arts (April 16-July 31, 2022)

In the East Falls neighbourhood of Philadelphia, just beyond the northern boundary of the Thomas Jefferson University's East Falls campus, stands the Hassrick House (1958-61), designed by celebrated architect Richard Neutra, an icon of mid-century modern style. Often described as an East Coast interpretation of California Modernism, the Hassrick House is one of only three buildings designed by Neutra within the city limits. Thomas Jefferson University's relationship with the house began in the summer of 2015 when Andrew Hart, assistant professor of Architecture in the College of Architecture & the Built Environment initiated a series of summer courses to study the house. The first multidisciplinary group of students engaged in architectural survey, drawing, and photography. Subsequent summer courses refined the architectural drawings, following the Historic American Buildings Survey (HABS) and Historic American Landscape Survey (HALS) standards. Yet another student cohort undertook documentary research to uncover the history of the house and its occupants. Then owners George Acosta and John Hauser were supportive collaborators with students in this process. Neutra's architecture and his relationship with the Hassricks - particularly Barbara who emerged as the primary client voice while the house was being designed - captured the hearts, minds, and imaginations of everyone who engaged with the house. As one student recalled, "We have all gotten swept away in the stories unfolding from our research." In 2018, Hauser and Acosta sold the property to the university with the understanding that the house would continue to be used for educational purposes. In George's words, "I had come to realize that the students can be the future custodians of that home. They can be the eyes. They can be the archives. In a way, it becomes all of ours to share." This publication chronicles the students' findings that shed light on Neutra's design process, his collaboration with his clients, as well as the unsung role of Thaddeus Longstreth as Neutra's proxy negotiator throughout the design and construction stages. During its approximately 63-year lifespan, the Hassrick House tells a saga of design, dwelling, neglect, restoration, and reinvention today as a laboratory for learning. In many respects, the history of the Hassrick House tells an important story of the modernist movement in the US, both regionally and nationally.