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American Decorative Arts and Paintings in the Bayou Bend Collection
Paintings by such prominent artists as John Smibert, John Singleton Copley, Charles Willson Peale, and Gilbert Stuart are included, many of which are reproduced here in color for the first time. Exceptional examples of metalwork, including notable pieces by Paul Revere and the celebrated firm of Tiffany & Co., are joined by an extraordinary selection of prints, drawings, textiles, glass, and ceramics. This volume will be of great interest to the general public and collectors as well as to students and scholars.
Bayou Bend
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Creators and Consumers
At the fifth biennial David B. Warren Symposium, seven scholars examined contributions made by women to the material culture of nineteenth-century Texas, the Lower South, and the Southwest. The resulting papers explore such diverse topics as women’s creative enterprises in Texas, their artistic contributions, as seen in the making of fine art, quilts, sunbonnets, and memorial hairwork pieces, and their role in adapting personal spaces such as an antebellum parlor and African American homes after the Civil War. In this volume, Mel Buchanan shares insights about the woman behind the furnishing of an important antebellum parlor. Whitney Stuart discusses Reconstruction-era African American material culture as expressed by women in their new free homes. Katherine Burlison reveals one woman’s impressive literary and artistic accomplishments in New Orleans. Katherine J. Adams provides interpretive analysis of quilts from Texas and the Lower South. The paper on sunbonnets by Rebecca Jumper Matheson provides a unique window into nineteenth-century Texas. The publication concludes with an essay by Lauren Clark focused on decorative memorial works woven of hair.
Old Masters, New World
A spellbinding account of the rapacious pursuit of the most exquisite paintings in the world In the Gilded Age, newly wealthy and culturally ambitious Americans began to compete for Europe's extraordinary Old Master pictures, causing a major migration of art across the Atlantic. Old Masters, New World is a backstage look at the cutthroat competition, financial maneuvering, intrigue, and double-dealing often involved in these purchases, not to mention the seductive power of the ravishing paintings that drove these collectors-including financier J. Pierpont Morgan, sugar king H. O. Havemeyer, Boston aesthete Isabella Stewart Gardner, and industrialist Henry Clay Frick. Packed with stunning reproductions, this is an ideal gift book for art lovers and history buffs alike.
Ima Hogg
"This engaging biography paints an intimate portrait of Ima Hogg (1882-1975), a philanthropist who left her mark on Texas through her dedicated support of the arts, education, and mental health"--
The Country Houses of John F. Staub
"This ambitious study of Staub's work by architectural historian Stephen Fox goes beyond a description of Staub's houses. Fox analyzes the roles of space, structure, and decoration in creating, defining, and maintaining social class structures and expectations and shows how Staub was able to incorporate these elements and understandings into the elegant buildings he designed for his clients. In the process, he contributes greatly to a fuller understanding of Houston's emergence as a premier American city."--BOOK JACKET.
Inverted Utopias
In the twentieth century, avant-garde artists from Mexico, Central and South America, and the Caribbean created extraordinary and highly innovative paintings, sculptures, assemblages, mixed-media works, and installations. This innovative book presents more than 250 works by some seventy of these artists (including Gego, Joaquin Torres-Garcia, Xul Solar, and Jose Clemente Orozco) and artists' groups, along with interpretive essays by leading authorities and newly translated manifestoes and other theoretical documents written by the artists. Together the images and texts showcase the astonishing artistic achievements of the Latin American avant-garde. The book focuses on two decisive periods: the return from Europe in the 1920s of Latin American avant-garde pioneers; and the expansion of avant-garde activities throughout Latin America after World War II as artists expressed their independence from developments in Europe and the United States. As the authors explain, during these periods Latin American art was fueled by the belief that artistic creations could present a form of utopia - an inversion of the original premise that drove the European avant-garde - and serve as a model for
Bulletin
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The Connoisseur
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