Generously illustrated with 183 images, more than 100 in color, and including valuable, previously unpublished biographical and bibliographical information, Nathan Oliveira will accompany the major traveling exhibition of the same name.".

One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!

"Should be the classic, central, definitive work on the emergence of Bay Area Figurative painting."--Paul Mills, author of The New Figurative Painting of David Park

Featuring 19 color plates and 65 b&w illustrations, this text critically examines the imagery, process, and pictorial structure of works by American painter Edwin Dickinson (1891-1978). Drawing upon 56 years of the artist's journals and several thousand pages of his letters, Ward makes connections b

Published in 1957, German Expressionist Painting was the first comprehensive study of one of the most pivotal movements in the art of this century. When it was written, however, German Expressionism seemed like an eccentric manifestation far removed from what was then considered the mainstream of modern art. But as historians well know, each generation alters the concept of mainstream to encompass those aspects of the past which seem most relevant to the present. The impact of German Expressionism on the art and thought of later generations could never have been anticipated at the time of the original writing of this book. During the subsequent years an enormous body of scholarly research and an even larger number of popular books on German expressionist art has been printed. Numerous monographs and detailed studies on most of the artists exist now and countless exhibitions with accompanying catalogues have taken place. Much of this new research could have been incorporated in a revised edition and the bibliography certainly could have been greatly expanded to include the important writings which have been published in Germany, the United States and elsewhere since this book was originally issued. The author, however, was faced with the choice of reprinting the original text with only the most necessary alterations-such as updating the captions to indicate present locations of the paintings-or the preparation of a revised text and bibliography. Desirable as a revision appeared, present printing costs would have priced the paperback out of reach for students. It is for this reason that I decided to reissue the original text which stands on its own as a primary investigation of German Expressionist Painting.

The first comprehensive survey of the monotype in America, Singular Impressions discusses the work of more than one hundred artists who, attracted by the medium's intimacy and freedom, made prints ranging from the romantic, pastoral landscapes of Bostonian Charles Alvah Walker to the Savarin-can "self-portraits" of Jasper Johns. Whether created as a brief fling with the technique by John Singer Sargent or as a sustained exploration of its subtleties by Maurice Prendergast, monotypes have attracted countless artists who usually work in other media. Describing how artists invented new methods and variations on the basic process, Joann Moser analyzes the role of the monotype in the "Black and White" exhibitions of New York's Salmagundi Club, at the 1915 Panama-Pacific Exposition in San Francisco, and in 1920s artists' communities from Provincetown to Taos. It was not until the 1970s that the monotype emerged as an alternative to the technical, structured enterprise that printmaking had become. Recognizing no rules or boundaries, artist pushed the previous limits of the medium to create a richer, more complex, more versatile means of expression.