Charles Warren Eaton 1857 1937

George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry—including optics, psychology, physiology, and mathematics—with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape—the first in-depth examination of Inness's career to appear in several decades—demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.

The fascinating story of the transformation of American watercolor practice between 1866 and 1925 The formation of the American Watercolor Society in 1866 by a small, dedicated group of painters transformed the perception of what had long been considered a marginal medium. Artists of all ages, styles, and backgrounds took up watercolor in the 1870s, inspiring younger generations of impressionists and modernists. By the 1920s many would claim it as "the American medium." This engaging and comprehensive book tells the definitive story of the metamorphosis of American watercolor practice between 1866 and 1925, identifying the artist constituencies and social forces that drove the new popularity of the medium. The major artists of the movement - Winslow Homer, John Singer Sargent, William Trost Richards, Thomas Moran, Thomas Eakins, Charles Prendergast, Childe Hassam, Edward Hopper, Charles Demuth, and many others - are represented with lavish color illustrations. The result is a fresh and beautiful look at watercolor's central place in American art and culture.

Certificate of Commendation from the American Association for State and Local History Most Americans today live in the suburbs. Yet suburban voices remain largely unheard in sociological and cultural studies of these same communities. In Suburban Landscapes: Culture and Politics in a New York Metropolitan Community, Paul Mattingly provides a new model for understanding suburban development through his narrative history of Leonia, New Jersey, an early commuter suburb of New York City. Although Leonia is a relatively small suburb, a study of this kind has national significance because most of America's suburbs began as rural communities, with histories that predated the arrival of commuters and real estate developers. Examining the dynamics of community cultural formation, Mattingly contests the prevailing urban and suburban dichotomy. In doing so, he offers a respite from journalistic cliches and scholarly bias about the American suburb, providing instead an insightful, nuanced look at the integrative history of a region. Mattingly examines Leonia's politics and culture through three eras of growth and change (1859-94, 1894-1920, and 1920-60). A major part of Leonia's history, Mattingly reveals, was its role as an attractive community for artists and writers, many contributors to national magazines, who created a 'suburban' aesthetic. The work done by generations of Leonias' artists provides an important vantage and a wonderful set of tools for exploring evolving notions of suburban culture and landscape, which have broad implications and applications. Oral histories, census records, and the extensive work of Leonia's many artists and writers come together to trace not only the community's socially diverse history, but to show how residents viewed the growth and transformation of Leonia as well.

This is the first installment of a fully illustrated catalogue of the Academy's priceless collection of paintings and sculptures.

The Witt Library of the Courtauld Institute of Art, London, is one of the world's greatest art history libraries. It contains some 1.7 million illustrations of the work of painters, draughtsmen, and engravers of the Western tradition, all of whom have been indexed by name, dates, and nationality. This new second edition of the Checklist of Painters is a transcription of the Witt index as it currently exists. The names of 66,000 artists, their dates, and their nationality (or school) are reproduced in alphabetical order. The Checklist of Painters is probably the most exhaustive work of its kind in existence; it now lists all painters (known by art historians) to have lived and worked from the year 1200 to 1994. It will be an important reference text in the art history collection of any public, academic, or professional library.