-World War I and American Art provides an unprecedented look at the ways in which American artists reacted to the war. Artists took a leading role in chronicling the war, crafting images that influenced public opinion, supported mobilization efforts, and helped to shape how the war's appalling human toll was memorialized. The book brings together paintings, drawings, prints, photographs, posters, and ephemera, spanning the diverse visual culture of the period to tell the story of a crucial turning point in the history of American art---

With this publication, produced in conjunction with the largest expansion in the history of the Virginia Museum of Fine Arts, the full scope of the museum's outstanding American art collection is represented for the first time. Following an introduction tracing the history of American art at this encyclopedic museum--a state-supported, privately endowed institution--readers will discover lively and generously illustrated essays about selected paintings, sculptures, and works on paper by many of America's leading artists: John James Audubon, Thomas Hart Benton, Mary Cassatt, Frederic Church, John Singleton Copley, Edward Hopper, Jacob Lawrence, Georgia O'Keeffe, Charles Willson Peale, Augustus Saint-Gaudens, John Singer Sargent, William Wetmore Story, Henry Ossawa Tanner, and James McNeill Whistler. Also included are decorative objects by well-known artisans and firms, such as John Henry Belter, the Goddard-Townsend group, Herter Brothers, Paul Revere, Louis Comfort Tiffany, and Frank Lloyd Wright. Organized in chronological sections ranging from the colonial era to the mid-twentieth century, this long-awaited book examines a noteworthy collection through a variety of interpretive lenses--aesthetic and cultural--for the benefit of a broad readership. Published by the Virginia Museum of Fine Arts in association with the University of Virginia Press

The richness of Native American art is explored from the early pre-Columbian period to the present day, stressing the conceptual and iconographic continuities over five centuries and across an immensely diverse range of regions. 53 color photos. 104 halftones. 8 maps.

The burnt-red badlands of Montana's Hell Creek are a vast graveyard of the Cretaceous dinosaurs that lived 68 million years ago. Those hills were, much later, also home to the Sioux, the Crows, and the Blackfeet, the first people to encounter the dinosaur fossils exposed by the elements. What did Native Americans make of these stone skeletons, and how did they explain the teeth and claws of gargantuan animals no one had seen alive? Did they speculate about their deaths? Did they collect fossils? Beginning in the East, with its Ice Age monsters, and ending in the West, where dinosaurs lived and died, this richly illustrated and elegantly written book examines the discoveries of enormous bones and uses of fossils for medicine, hunting magic, and spells. Well before Columbus, Native Americans observed the mysterious petrified remains of extinct creatures and sought to understand their transformation to stone. In perceptive creation stories, they visualized the remains of extinct mammoths, dinosaurs, pterosaurs, and marine creatures as Monster Bears, Giant Lizards, Thunder Birds, and Water Monsters. Their insights, some so sophisticated that they anticipate modern scientific theories, were passed down in oral histories over many centuries. Drawing on historical sources, archaeology, traditional accounts, and extensive personal interviews, Adrienne Mayor takes us from Aztec and Inca fossil tales to the traditions of the Iroquois, Navajos, Apaches, Cheyennes, and Pawnees. Fossil Legends of the First Americans represents a major step forward in our understanding of how humans made sense of fossils before evolutionary theory developed.

A work of immense cultural significance and beauty, this long poem became an anthem for the African diaspora and the birth of the Negritude movement. With unusual juxtapositions of object and metaphor, a bouquet of language-play, and deeply resonant rhythms, Césaire considered this work a "break into the forbidden," at once a cry of rebellion and a celebration of black identity. More praise: "The greatest living poet in the French language."--American Book Review "Martinique poet Aime Cesaire is one of the few pure surrealists alive today. By this I mean that his work has never compromised its wild universe of double meanings, stretched syntax, and unexpected imagery. This long poem was written at the end of World War II and became an anthem for many blacks around the world. Eshleman and Smith have revised their original 1983 translations and given it additional power by presenting Cesaire's unique voice as testament to a world reduced in size by catastrophic events." --Bloomsbury Review "Through his universal call for the respect of human dignity, consciousness and responsibility, he will remain a symbol of hope for all oppressed peoples." --Nicolas Sarkozy "Evocative and thoughtful, touching on human aspiration far beyond the scale of its specific concerns with Cesaire's native land - Martinique." --The Times

Within the international art world, American Fine Arts, Co., Colin de Land Fine Art was a gallery known equally for its anti-commercial, risk-taking practices and for its charismatic owner, who championed a perennially marginalized discourse that critiqued the status quo of gallery practice. Culled from de Land's extensive archive, Colin de Land, American Fine Arts provides an incomparable look at the activities and personalities that frequented the gallery during its heyday. The photographs and snapshots are accompanied by remembrances from more than 50 international artists and writers associated with the gallery. Part personal history, part expose, Colin de Land, American Fine Arts takes us back to the essence of south SoHo during the late 1980s and 90s, serving as a testament to de Land and his loving wife, gallerist Pat Hearn, both of whom died of cancer but left a legacy of personal style in their respective gallery practices, which have since been sorely missed.

Using paintings and sketches created over the years of her life as an artist, Van Wyk provides all the instruction and examples oil painters need to understand the effect of background on color; the seven components of pictorial expression; how to paint glass, eyes and expressions; and so much more.