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The first in a beautiful four-volume complete catalogue of all known works by the beloved American artist William Merritt Chase A perennial favorite of museum visitors, the works of William Merritt Chase (1849-1916) embody the quintessential characteristics of American Impressionism: outdoor landscapes, a colorful palette, and an energetic brushstroke. He was also a portrait painter of the first rank, a master of still life, a renowned teacher, and a leader of artists' societies. This gorgeous book, the first of a four-volume definitive catalogue, features Chase's stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolors; and prints. Reconstructing Chase's oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase's paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase's work during the artist's lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase's innovative pastel technique.
Late in the nineteenth century, many Americans were troubled by the theories of Charles Darwin, which contradicted both traditional Christian teachings and the idea of human supremacy over nature, and by an influx of foreign immigrants, who challenged the supremacy of the old Anglo-Saxon elite. In response, many people drew comfort from the theories of philosopher Herbert Spencer, who held that human society inevitably develops towards higher and more spiritual forms. In this illuminating study, Kathleen Pyne explores how Spencer’s theories influenced a generation of American artists. She shows how the painters of the 1880s and 1890s, particularly John La Farge, James McNeill Whistler, Thomas Dewing and the Boston school, and the impressionist painters of the Ten, developed an art dedicated to social refinement and spiritual ideals and to defending the Anglo-Saxon elite of which they were members. This linking of visual culture to the problematic conditions of American life radically reinterprets the most important trends in late nineteenth-century American painting.