Item is an advertisement and order form for the book of the same title by Bill and Frances Belknap.

Vividly illustrated and exhaustively researched and documented, Painters of Utah's Canyons and Deserts weaves a sweeping tapestry of artists' attempts to capture the majesty, rare beauty, and raw danger of Utah's frontier West. A COMPREHENSIVE HISTORY OF ARTISTS WHO PAINTED SOUTHERN UTAH, INCLUDING: Solomon Nunes Carvalho Frederick S. Dellenbaugh John Heber Stansfield William Keith Samuel Coleman Thomas Moran Minerva B. K. Teichert Maynard Dixon LeConte Stewart J. Roman Andrus Birger Sandzén Everett Ruess Georgia O'Keeffe Max Ernst Alfred Lambourne Henry L. A. Culmer Donald Beauregard

Western painter Maynard Dixon once pronounced "Arizona" "the magic name of a land bright and mysterious, of sun and sand, of tragedy and stark endeavor." "So long had I dreamed of it," he professed, "that when I came there it was not strange to me. Its sun was my sun; its ground was my ground." The California-born Dixon (1875-1946) first traveled to Arizona in 1900 to absorb what he believed was a vanishing West. Dixon found Arizona a visually inspiring and spiritual place that shaped the course of his paintings and ultimately defined him. A Place of Refuge: Maynard Dixon's Arizona is the first exhibition to focus solely on the renowned painter's depictions of Arizona subjects. As early as 1903 Dixon referred to Arizona as home. Although he spent most of his life in San Francisco, Dixon lamented to friends that he longed for Arizona and the solitude of the desert, and he frequently traversed the land's varied expanses. In 1939 he made Tucson his winter home and spent his remaining years painting his beloved desert landscape. In the confluence of Arizona's natural and cultural landscapes, Dixon would become one of the West's most distinctive painters, creating a body of work that established his place among the vanguard of artists who portrayed western subjects. Thomas Brent Smith explores Dixon's remarkable departure from traditional depictions of human conflict in the "Old West" rendered by such predecessors as Frederic Remington, Charles M. Russell, and Charles Schreyvogel. Smith's essay describes this shift in artistic ideology and analyzes the tranquil images that emerged on Dixon's canvases. Donald J. Hagerty's biographical essay highlights Dixon's travels and his affinity for the people and landscape of Arizona.

"The Grand Canyon has inspired storytellers and mythmakers for centuries. Stories told of it in oral traditions, books, newspapers, and brochures have entertained and fired the imaginations of listeners and readers with descriptions of subliminal beauty and endless adventure. The best Grand Canyon raconteur of them all might be John Hance, the first permanent Euro-American settler at Grand Canyon, a river guide, and a teller of such tall tales that his talent for spinning yarns helped establish the tourist trade at Grand Canyon more than a hundred years ago. Yet, as Shane Murphy points out, Hance's name is now largely forgotten. Visitors to Grand Canyon National Park won't find a statue of Hance or a commemorative sign or plaque with his name on it. Those who ride the Colorado River through the canyon might learn a little about Hance from a guide when they descend Hance Rapids, the longest and steepest of them all. Otherwise the name John Hance, which was once synonymous with Grand Canyon, is no longer part of its story. Shane Murphy's biography is an effort to rescue Hance from obscurity. It provides insights into Hance's life before he went west with his family to strike it rich as a miner in Arizona Territory. More importantly, Murphy shows how Hance and his outsized personality brought the wonders of an equally outsized landscape to the attention of would-be travelers before the days of the National Park Service and the creation of Grand Canyon National Park in 1919"--

Thomas Moran, Albert Bierstadt, Frederic Remington, Louis Comfort Tiffany, and dozens of other artists have braved difficult conditions to capture the splendors of Yellowstone in many media, from delicate watercolors and pen-and-ink sketches to powerful oils and popular lithographs. They have portrayed the animals that lived there, the humans who passed through, and above all the remarkable features that have made Yellowstone a wonderland to so many artists and observers."--BOOK JACKET.