Account of the activities, chronology, mapping and botanical and zoological collections of the United States Exploring Expedition of 1838-1842, which mapped 1500 miles of the Antarctic coast and proved that the continent exists. Published in connection with the exhibition 'Magnificent Voyagers' organized by the National Museum of Natural History and circulated by the Smithsonian Institution, Washington, D.C.

Outstanding Academic Title, Choice, 2015 Winner, Ewell Newman Award of the American Historical Print Collectors Society, 2016 In 1849 the Smithsonian purchased the Marsh Collection of European engravings. Not only the first collection of any kind to be acquired by the new Institution, it was also the first public print collection in the nation, and it presented an important symbol of cultural authority. The prints formed part of the library of Vermont Congressman George Perkins Marsh (1801-1882), a member of the Smithsonian’s Board of Regents. The uncertainty of the Smithsonian's mission in the early years complicated its motivation for purchasing the collection, especially given Marsh’s position as a Regent in financial difficulty. After a serious fire in 1865, portions of the collection were deposited at the Library of Congress and the Corcoran Gallery of Art. Efforts to reclaim it began in the 1880s, as a new generation of Smithsonian staff expanded the National Museum, but they achieved only mixed success. Through the story of the Marsh Collection, the book explores the cultural values attributed to prints in the 19th century, including their prominent role in expositions and their influence on visual culture at a time when collecting styles were moving from an individual’s private contemplation of artworks to wider public venues of exposition in museums and reception by multiple audiences. The history of this first Smithsonian collection enlivens an important stage in the development of American cultural identity and in the formation of the Smithsonian as a national institution.

"A treasure of a book."—David McCullough The harrowing story of a pathbreaking naval expedition that set out to map the entire Pacific Ocean, dwarfing Lewis and Clark with its discoveries, from the New York Times bestselling author of Valiant Ambition and In the Hurricane's Eye. A New York Times Notable Book America's first frontier was not the West; it was the sea, and no one writes more eloquently about that watery wilderness than Nathaniel Philbrick. In his bestselling In the Heart of the Sea Philbrick probed the nightmarish dangers of the vast Pacific. Now, in an epic sea adventure, he writes about one of the most ambitious voyages of discovery the Western world has ever seen—the U.S. Exploring Expedition of 1838–1842. On a scale that dwarfed the journey of Lewis and Clark, six magnificent sailing vessels and a crew of hundreds set out to map the entire Pacific Ocean and ended up naming the newly discovered continent of Antarctica, collecting what would become the basis of the Smithsonian Institution. Combining spellbinding human drama and meticulous research, Philbrick reconstructs the dark saga of the voyage to show why, instead of being celebrated and revered as that of Lewis and Clark, it has—until now—been relegated to a footnote in the national memory. Winner of the Theodore and Franklin D. Roosevelt Naval History Prize

"The Metropolitan Museum began acquiring American drawings and watercolors in 1880, just ten years after its founding. Since then it has amassed more than 1,500 works executed by American artists during the eighteenth and nineteenth centuries in watercolor, pastel, chalk, ink, graphite, gouache, and charcoal. This volume documents the draftsmanship of more than 150 known artists before 1835 and that of about 60 unidentified artists of the period. It includes drawings and watercolors by such American masters as John Singleton Copley, John Trumbull, John Vanderlyn, Thomas Cole, Asher Brown Durand, George Inness, and James Abbott McNeill Whistler. Because the 504 works illustrate such a wide range of media, techniques, and styles, this publication is a veritable history of American drawing from the eighteenth through most of the nineteenth century."--Metropolitan Museum of Art website.

Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies. Through a diverse range of case studies from Oceania, Asia, and Europe, and interdisciplinary approaches, this edited collection offers new critical and ethnographic frameworks for understanding and experiencing practices of music and dance across the globe.

In this book Phil Corr provides a tour de force by writing for both the biography reader and the scholar. In this hybrid work he vividly portrays the life of Titus Coan, “the pen painter,” while also filling gaps in the scholarship. These gaps include: the volume itself (no full-length published book has previously been written on Titus Coan) and the following chapters—“Patagonia,” “Peace,” and “Other Religions.” Using the unpublished thesis by Margaret Ehlke and many other primary and secondary sources, he significantly deepens the understanding of Coan in many areas. This book is presented to the future reader for the purposes of edification and increasing the scholarship of this man who lived an incredible life during incredible times.