Charles Parsons is one of St. Louis's and the nation's most influential yet little-known figures. He was instrumental to the Union cause as a Civil War quartermaster and advisor to generals, politicians and presidents alike. As a world-traveling art connoisseur, he helped found the first art museum west of the Mississippi, to which he donated his remarkable collection of American, European and Asian art. To this day, his philanthropic work and dedication to education live on in some of the country's grandest institutions. Author John Launius tells the full story for the first time, from business failures in a riverside boomtown to national renown.

Charles Parsons is one of St. Louis's and the nation's most influential yet little-known figures. He was instrumental to the Union cause as a Civil War quartermaster and advisor to generals, politicians and presidents alike. As a world-traveling art conno

No one remembers the daytime heist at the Saint Louis Art Museum. A rare Picasso arrived at the museum cloaked in mystery in 1934, then disappeared without a trace in 1973. Today, the painting could be worth millions, that is, if it could be recovered. Join the author as she shares the backstory of the stolen Picasso and how it became the least-told story of art theft from a highly regarded art museum. Someone might have it without knowing it was lifted from a big city collection fifty years ago. Recognizing the painting could be the first step in getting it home.

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

"This book ... [shows] how the artist worked out his developing ideas primarily through drawing. Included are examples of work from his early years, such as the preparatory drawings he made as a muralist for the WPA in the 1930s, in addition to the increasingly abstract work of the 1940s and 1950s, and the sequence of pictorial experiments that led to his reintroduction of the figure in the late 1960s. Also reproduced, in color, are a number of painterly gouaches and a series of acrylics"--Back cover.

Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.