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Everett Spruce came to Texas from his Arkansas home in 1925 to study at the Dallas Art Institute. Over the next seven decades, he became one of the most important painters and teachers in the region. One of the “Dallas Nine,” a group of influential Texas Regionalists that included Jerry Bywaters, Otis Dozier, William Lester, and others, Spruce was among the artists who lobbied the Texas Centennial Commission for a greater role in the Centennial Exposition of 1936. These efforts, though unsuccessful, nevertheless led to greater recognition and influence for Texas art and artists. Spruce was assistant director and taught art at the Dallas Museum of Fine Arts until 1940 when he joined the faculty of the University of Texas at Austin. He painted and taught at the university for the next 38 years, guiding and shaping the next generation of Texas artists, including Roger Winter, William Hoey, and others. Spruce died in 2002 at the age of 94. Texas Made Modern: The Art of Everett Spruce traces Spruce’s artistic evolution from his early experimental work of the 1920s through the mysterious, surrealist-imbued landscapes of the 1930s. The work addresses his boldly expressionistic imagery of the 1940s and his abstract expressionist–inspired paintings of the mid-twentieth century. Departing from previous accounts of Spruce, which label him a prototypical regionalist, this study reveals the nuanced meanings behind the artist’s shifting approaches to Texas subject matter and resituates his artwork within the broader narrative of American art.
Before Abstract Expressionism of New York City was canonized as American postwar modernism, the United States was filled with localized manifestations of modern art. One such place where considerable modernist activity occurred was Texas, where artists absorbed and interpreted the latest, most radical formal lessons from Mexico, the East Coast, and Europe, while still responding to the state's dramatic history and geography. This barely known chapter in the story of American art is the focus of Midcentury Modern Art in Texas. Presenting new research and artwork that has never before been published, Katie Robinson Edwards examines the contributions of many modernist painters and sculptors in Texas, with an emphasis on the era's most abstract and compelling artists. Edwards looks first at the Dallas Nine and the 1936 Texas Centennial, which offered local artists a chance to take stock of who they were and where they stood within the national artistic setting. She then traces the modernist impulse through various manifestations, including the foundations of early Texas modernism in Houston; early practitioners of abstraction and non-objectivity; the Fort Worth Circle; artists at the University of Texas at Austin; Houston artists in the 1950s; sculpture in and around an influential Fort Worth studio; and, to see how some Texas artists fared on a national scale, the Museum of Modern Art's "Americans" exhibitions. The first full-length treatment of abstract art in Texas during this vital and canon-defining period, Midcentury Modern Art in Texas gives these artists their due place in American art, while also valuing the quality of Texan-ness that subtly undergirds much of their production.
J. P. Bryan, whose monumental collection of Texas art is the source of this traveling exhibition, determined that he would collect only those artists who had actually participated in the settlement of Texas?not artists who imagined the events after they were history. Thus, Deep in the Art of Texas constitutes not just a tour of Texas artists, but a virtual tour of the romantic history and vast geography of the state itself. Deep in the Art of Texas pulls pieces from the Torch Energy Advisors Collection of Texas Art, which showcases the likes of Charles Franklin ?Frank” Reaugh and Robert Julian Onderdonk. The collection is housed at Torch Energy Advisors Inc. in Houston.
Critic Michael Ennis stated twenty-five years ago that there has never been more than a cursory overview of Texas art from the nineteenth century to the present. The Art of Texas: 250 Years now tells a deeper story, beginning with Spanish colonial paintings and moving through two and a half centuries of art in Texas. By the twentieth century, most Texas artists had received formal training and produced work in styles similar to European and other American artists. Written by noted scholars, art historians, and curators, this survey is the first attempt to analyze and characterize Texas art on a grand scale.
At a crucial moment in the development of Texas art, an eccentric oil wildcatter form Massachusetts and Luling, Texas, turned to the prestigious San Antonio Art League with a proposal. He would fund a national art competition featuring the state's verdant fields of wildflowers and bring prominence to Texas art if the league would handle the details. Thus was born the Texas Wildflower Competitive Exhibitions, which in three years at the end of the Roaring Twenties awarded more than $53,000 in prize money for paintings of Texas wildflowers, ranch life, and cotton farming. This presentation of twenty-nine color plates of the competitions' best works includes paintings by such important artists as Jose Arpa, Dawson Dawson-Watson, Xavier Gonzalez, Edward G. Eisenlohr, and Oscar E. Berninghaus and Herbert Dunton (the latter duo having also served as founding members of the Taos Society of Artists). In the plates, the artists have portrayed a variety of landscapes and atmospheres to present the wildflowers loved not only by Davis but by generations of Texas art enthusiasts.
FEATURES OF THE TEXAS ALMANAC 2014–2015 • Sketches of eight historic ranches of Texas by Texana writer Mike Cox. • Article on the Texas art and artists by Houston businessman and art collector J.P. Bryan, who has amassed the world’s largest Texana collection. • Coverage of the 2012 elections, redistricting, and the 2012 Texas Olympic medalists. • An update on Major League Baseball in Texas. • Lists of sports champions — high school, college, and professional. MAJOR SECTIONS UPDATED FOR EACH EDITION • The Environment, including geology, plant life, wildlife, rivers, and lakes. • Weather highlights of the previous two years, plus a list of destructive weather dating from 1766. • Two-year Astronomical Calendar that shows moon phases, times of sunrise and sunset, moonrise and moonset, eclipses, and meteor showers. • Recreation, with details on state and national parks and forests, landmarks, and fairs and festivals. • Sports, including lists of high school football and basketball champions, professional sports teams, Texas Olympians, and Texas Sports Hall of Fame inductees. • Counties section, with detailed county maps and profiles for Texas’s 254 counties. • Population figures from the 2010 US Census and State Data Center estimates as of 2012. • Comprehensive list of Texas Cities and Towns. • Politics, Elections, and information on Federal, State, and Local Governments. • Culture and the Arts, including a list of civic and religious Holidays. • Religion census of 2010 by denomination and adherents; breakdown on metro areas and counties. • Health and Science, with charts of vital statistics. • Education, including a complete list of colleges and universities, and UIL results. • Business and Transportation, with an expanded section on Oil and Gas. • Agriculture, including data on production of crops, fruits, vegetables, livestock, and dairy. • Obituaries of notable Texans. • Pronunciation Guide to Texas town and county names.
When Coastal Living Magazine listed Rockport, Texas, among its "Top 10 Artists' Colonies"--grouping the Texas community with such destinations as Carmel-by-the-Sea, California, and Monhegan Island, Maine--eyebrows lifted in many parts of the country. But for those in the know, Rockport's inclusion represented the logical result of the area's unique land- and seascapes, its welcoming climate, and its tradition of providing a haven for creativity and individuality. The story begins with well-known portrait photographer Louis de Planque, who lived in Rockport in the late nineteenth century, and includes Annie Fulton Holden, who painted a portrait of the first governor of Texas that hung in the state Capitol until fire destroyed it in 1881. In the many decades since, a host of artists, art educators, and art historians have called the Rockport-Fulton area home, including contemporary and influential artists, instructors, and gallerists such as Herb Booth, Meredith Long, and Simon Michael, teacher of Dalhart Windberg. In The Story of the Rockport-Fulton Art Colony: How a Coastal Texas Town Became an Art Enclave, Kay Kronke Betz and Vickie Moon Merchant chronicle how this small Texas town, whose economy was based on fishing, shrimping, and tourism, became a major regional center for the visual arts. Generously illustrated throughout with full-color images of boats, bays, birds, and other hallmarks of this artistically rich community, this book is a visual and narrative treat for art lovers, conservationists, and historians alike.
Recipient of three National Endowment for the Arts grants and with works exhibited at the prestigious Biennale de Paris, New York’s Whitney Museum, the de Menil Collection in Houston, and other venues, Bob “Daddy-O” Wade started “keeping it weird” in 1961 when he arrived in Austin with his ’51 custom Ford hot rod and his slicked-back hair. Primed to study art at the University of Texas, Wade’s coif and dragster earned him his trademark moniker, and the abstract, welded sculptures he fashioned from automobile bumpers in his frat house basement laid the foundations for the distinctive, larger-than-life art pieces that would eventually make him famous. Daddy-O is the creator of the forty-foot iguana that perched atop the Lone Star Café in New York City, the immense cowboy boots (entered in the Guinness Book of World Records) outside San Antonio’s North Star Mall, and Dinosaur Bob, who graces the roof of the National Center for Children’s Illustrated Literature in Abilene, Texas. He is widely recognized as one of the progenitors of the “Cosmic Cowboy Culture” that emerged in Texas during the 1970s. Daddy-O’s Book of Big-Ass Art features images of more than a hundred of Wade’s most famous pieces, complete with the wild tales that lie behind the art, told in brief essays by both Wade and more than forty noted artists and writers familiar with Wade’s work.
Published in conjunction with the exhibition Frank Reaugh: Landscapes of Texas and the American West, organized by the Harry Ransom Center, The University of Texas at Austin, August 4-November 29, 2015.