In Paul Pletka: Imagined Wests, the first book on this major American artist in over thirty years, readers will encounter the full range of Pletka’s work through more than eighty color reproductions of his best-known and most influential works.
Frank on the Prairie was only one of a handful of books to which Russell added illustrations during his career. It is one of even fewer to contain watercolors. Showcasing Russell’s artistry and his perspective on the American West, the volume is, in Minckler’s words, “one of Russell’s most personalized works of art.”
Print Culture and American Expansion in the Nineteenth Century
by Matthew N. Johnston
Revealing the crucial role of print and visual culture in shaping the nineteenth-century United States, Narrating the Landscape offers fresh insight into the landscapes Americans beheld and imagined in this formative era.
This biography by a distinguished California historian gives an underappreciated artist and his work recognition long overdue. Focusing on Grafton Tyler Brown’s lithography and his life in nineteenth-century San Francisco, Robert J. Chandler offers a study equally fascinating as a business and cultural history and as an introduction to Brown the artist.
Coast to Coast with Frenzeny & Tavernier in 1873–1874
by Claudine Chalmers
The opening of the West after the Civil War drew a flood of Americans and immigrants to the frontier. Among the liveliest records of the westering of the 1870s is the series of prints collected for the first time in this book. Chronicling the West for Harper’s showcases 100 illustrations made for the weekly magazine by French artists Paul Frenzeny and Jules Tavernier on a cross-country assignment in 1873 and 1874.
Less than thirty years after Lewis and Clark completed their epic journey, Prince Maximilian of Wied—a German naturalist—and his entourage set off on their own daring expedition across North America. Accompanying the prince on this 1832–34 voyage was Swiss artist Karl Bodmer, whose drawings and watercolors—designed to illustrate Maximilian’s journals—now rank among the great treasures of nineteenth-century American art. This lavishly illustrated book juxtaposes Bodmer’s landscape images with modern-day photographs of the same views, allowing readers to see what has changed, and what seems unchanged, since the time Maximilian and Bodmer made their storied trip up the Missouri River.
Few who appreciate the visual arts or the American Southwest can behold the masterpieces Sangre de Cristo Mountains or Haystack, Taos Valley, 1927 or Bend in the River, 1941 and come away without a vivid image burned into memory. The creator of these and many other depictions of the Southwest and its people was Ernest L. Blumenschein, cofounder of the famous Taos art colony. This insightful, comprehensive biography examines the character and life experiences that made Blumenschein one of the foremost artists of the twentieth century.
Like his good friend Charles M. Russell, Edward Borein stands today as one of the most artistically gifted and intellectually honest chroniclers of the American West and a way of life that has now, unfortunately, passed almost completely away. A master at portraying cowboys, Indians and Western life and work, his early work documented the transition from Spanish to American influence in California, and he continued to paint Western scenes until the end of his life. The fine sketches, etchings, drawings and watercolors of this self-taught artist come to life in this book.
In 1904, Field and Stream sent Frank Tenney Johnson (1874-1939) to the Rockies and the Southwest. It was on this journey that Johnson established his distinctive style and discovered the subject matter on which he would draw throughout his life. He became a painter of the world of Indians and cowboys from the Wyoming Rockies to the exotic canyons and cliffs of New Mexico and Arizona, and was considered the foremost painter of the West, recognized for picking up where Remington and Russell left off.
In 1914, Dr. Edgar Hewitt, director of Santa Fe’s School of American Archaelogy, urged Henri to paint in New Mexico. Henri’s strong personality and liberal ideas regarding museum policy, particularly unjuried exhibitions, left a lasting imprint on the newly opened Museum of New Mexico.
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