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An annotated index and general orientation of Islamic art collections in museums, libraries, other institutions and on private hands. Includes a short description of each collection, its main characteristics, documentation, publications and exhibitions.
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After World War II, Nat King Cole romanticized Route 66 with his wonderfully melodious voice. Route 66 was a transcontinental highway that traveled from Chicago to Los Angeles. Today, Route 66 is no more. Can today’s traveler drive across the country on a two-lane highway and recapture the romance that Nat sang about half a century ago? It is possible! U.S. 20 begins in Boston and travels through the heartland, 3,365 miles, to Newport, Oregon. Its journey takes the traveler through a myriad of towns and places to explore. Through the Heartland on U.S. 20: Massachusetts relates the development of the road, each town’s historic events, people of renown who lived there, even the infamous, things to do and see, and the towns’ best restaurants. An exciting adventure awaits the reader as he or she travels through Massachusetts on U.S. 20.
In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title "Prehistoric Rock Pictures in Europe and Africa", it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius. Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstract art. Presenting unseen archival material, letters, and exhibition documentation, Prehistoric Pictures and American Modernism offers a new reading of the development of modern American abstraction, and will hold an important place in the historiography of the movement, its global traditions, and its legacy.
Martin Johnson Heade was one of the most significant American painters of the nineteenth century, creator of portraits, history and genre pictures, still lifes, ornithological studies, landscapes, and marines, and his own unique orchid and hummingbird compositions. This book brings a perspective to Heade and his works, presenting him as one of the most original and productive painters of his time. Theodore Stebbins builds on his acclaimed 1975 study of Heade, drawing on several newly discovered collections of Heade's letters and the painter's own Brazilian journal. Stebbins tells of Heade's training and early career as an itinerant portraitist and discusses his move to New York, where, under the influence of Frederic E. Church, he began painting landscapes and seascapes. He examines Heade's relationships with patrons and dealers, writers and scientists, and he sheds new light on Heade’s trips to Brazil, to the Central American tropics, and to London. And he describes Heade's move to Florida in 1883, which marked not his retirement but a final period of creativity that lasted until his death in 1904. The book includes not only an examination of Heade's life and works but also reproductions of all his 620 known paintings, including nearly 250 that have been discovered since 1975.