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“Written in prose so clear that we absorb its images as if by mind meld, “The Last Painting” is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it’s fiction that keeps you up at night — first because you’re barreling through the book, then because you’ve slowed your pace to a crawl, savoring the suspense.” —Boston Globe A New York Times Bestseller A New York Times Book Review Editor's Choice A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH. Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it. New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict. Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.
100 Best Paintings in New York combines art history, commentary, and tourists’ guide to provide you with a deeper understanding and appreciation of New York’s greatest works of art. The descriptions draw attention to fascinating details in each work and look at why, where, or for what occasion they were painted. A biographical chronology of each artist accompanies the essays as well as a sample listing of works by other contemporary painters. From Jan van Eyck to Mark Rothko, from Diego Velazquez to Georgia O’Keefe, 100 Best Paintings in New York covers the complete spectrum of masterpieces in New York’s great galleries. 100 Best Paintings in New York will inform and amuse both visitors and residents who wish to make the most of what their city has to offer. This accessible—and occasionally irreverent—guide has been written with both novice and veteran museum-goers in mind. Contains descriptions of works displayed in: the Brooklyn Museum • the Cloisters • the Frick Collection • the Hispanic Society of America • Metropolitan Museum of Art • MOMA • Neue Gallerie • the Guggenheim Museum • Whitney Museum of American Art
The Unfinished Exhibition, the first comprehensive examination of American art at the Centennial, explains the critical role of visual culture in negotiating memories of the nation’s past that conflicted with the optimism that Exhibition officials promoted. Supporting novel iconographical interpretations with myriad primary source material, author Susanna W. Gold demonstrates how the art galleries and the audiences who visited them addressed the lingering traumas of battle, the uneasy re-unification of North and South, and the persisting racial tensions in the post-Emancipation era.
A busy Hollywood couple spins a hilarious cautionary tale about what happens when you are glued to your phone. It's a lively day at the neighborhood park. Birds are singing, squirrels are frolicking, dogs are causing a commotion--and wide-eyed children are enthralled by it all. Too bad the parents are missing everything! It's going to take something really BIG to get them to disengage from their phones . . . This timely story, brought to life with beautiful bold art, is a great reminder to slow down and savor time together.
For Frank Vining Smith (1879-1967), the nineteenth-century clipper ship, like the cathedral of the Middle Ages, was one of men's most glorious accomplishments. As Monet had done with the cathedral, Smith painted the ship, featuring it in different angles and at different times of the day. Having studied under the supervision of Frank W. Benson, and Edmund Tarbell at the Museum School in Boston, Smith brought a new approach to the conservative art of marine painting. When looking at a painting by Smith, one does not see the blueprint of detail that was common in ship painting at the turn of the century, instead one sees masses of shadows and the suggestion of details. Up close, it is difficult to see where one brush-stroke ends and another begins, but seen from a distance, his compositions work perfectly, and is what contributor Peter Williams calls "the alchemy of Smith's impressionism". AUTHOR: James A. Craig is a curator and lecturer specializing in nineteenth-century American marine art. SELLING POINTS: *Definitive exploration of the art and life of this prolific Massachusetts artist's 70 year career *Of interest to museums, universities, yacht clubs, yachting enthusiasts, and antique collectors *Vining Smith's work is in collections across the United States including in navy wardrooms, and he counted former President Franklin Delano Roosevelt as one of his loyal patrons ILLUSTRATIONS: 93 colour & 72 b/w