Presents an alphabetical listing of artists who have lived, worked, and exhibited in Texas between 1800 and 1945; features color reproductions of one or more of each artist's works; and includes tables of the major exhibitions and competitions in Texas during the late nineteenth and early twentieth century.

The time is 1887. From any window in Georgia O’Keeffe’s Sun Prairie, Wisconsin birthplace home she only saw the Wisconsin prairie with its traces of roads veering around the flat marshlands and a vast sky that lifted her soul. At twelve years of age Georgia had a defining moment when she declared, “I want to be an artist.” Years later from her east-facing window in Canyon, Texas she observed the Texas Panhandle sky with its focus points on the plains and a great canyon of earth history colors streaking across the flat land. Georgia’s love of the vast, colorful prairie, plains and sky again gave definition to her life when she discovered Ghost Ranch north of Abiquiu, New Mexico. She fell prey to its charms which were not long removed from the echoes of the “Wild West.” These views of prairie, plains and sky became Georgia’s muses as she embarked on her step-by-step path with her role models—Alon Bement, Arthur Jerome Dow and Wassily Kandinsky. In this two-part biography of which this is Part I covering the period 1887–1945, Nancy Hopkins Reily “walks the Sun Prairie Land,” as if in Georgia’s day as a prologue to her family’s friendship with Georgia in the 1940s and 1950s. Reily chronicles Georgia’s defining days within the arenas of landscape, culture, people and the history surrounding each, a discourse level that Georgia would easily recognize.

Winner, 2021 National Cowboy and Western Heritage Museum Western Heritage Award, Art/Photography Book (The Wrangler) Sometime in 1947, a letter arrived in the mailbox of Harold Dow Bugbee, already a well-known and highly sought illustrator for western pulp magazines and other publications. “Sir,” it began, “I have seen several of your pictures in the Cattleman. Sure like them and I am writing you to ask if you have all of your pictures in a book—if you do—we want to buy one.” “After seventy years of waiting,” writes Michael R. Grauer in this colorful survey of Bugbee’s life and career, “here is such a book.” Bugbee and his family arrived in Clarendon, Texas, in 1914, from Massachusetts. He helped his father with the 1,000-acre family ranch and eventually attended the Agricultural and Mechanical College of Texas, where he studied architectural drawing. Subsequently, he enrolled at the Cumming School of Art in Des Moines, Iowa, but left after two years when the founder of the school told the young Texan that he had learned all the school had to offer. Bugbee avidly absorbed cowboy scenes and the lifestyle that birthed them. He filled canvases with colorful, authentic images that capture the spirit of the American West of the early to mid-1900s, especially in and near his beloved Texas Panhandle. By the 1930s, Bugbee was providing pen-and-ink sketches for magazines such as Ranch Romances, Western Stories, Country Gentleman, and Field and Stream. This richly illustrated overview of the man and his art provides a valuable and entertaining resource for collectors and students of western and Texas art.

"'Discovering Texas History' is a historiographical reference book that will be invaluable to teachers, students, and researchers of Texas history. Chapter authors are familiar names in Texas history circles--a 'who's who' of high profile historians. Conceived as a follow-up to the award winning (but increasingly dated) 'A Guide the History of Texas' (1988), 'Discovering Texas History' focuses on the major trends in the study of Texas history since 1990. In part one, topical essays address significant historical themes, from race and gender to the arts and urban history. In part two, chronological essays cover the full span of Texas historiography from the Spanish era to the modern day. In each case, the goal is to analyze and summarize the subjects that have captured the attention of professional historians so that 'Discovering Texas History' will take its place as the standard work on the history of Texas history"--

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.

The time is 1887. From any window in Georgia O’Keeffe’s Sun Prairie, Wisconsin birthplace home she only saw the Wisconsin prairie with its traces of roads veering around the flat marshlands and a vast sky that lifted her soul. At twelve years of age Georgia had a defining moment when she declared, “I want to be an artist.” Years later from her east-facing window in Canyon, Texas she observed the Texas Panhandle sky with its focus points on the plains and a great canyon of earth history colors streaking across the flat land. Georgia’s love of the vast, colorful prairie, plains and sky again gave definition to her life when she discovered Ghost Ranch north of Abiquiu, New Mexico. She fell prey to its charms which were not long removed from the echoes of the “Wild West.” These views of prairie, plains and sky became Georgia’s muses as she embarked on her step-by-step path with her role models—Alon Bement, Arthur Jerome Dow and Wassily Kandinsky. In this two-part biography of which this is Part I covering the period 1887–1945, Nancy Hopkins Reily “walks the Sun Prairie Land,” as if in Georgia’s day as a prologue to her family’s friendship with Georgia in the 1940s and 1950s. Reily chronicles Georgia’s defining days within the arenas of landscape, culture, people and the history surrounding each, a discourse level that Georgia would easily recognize.