"Since the first edition of Oregon Painters was published in 1999, it has served as an invaluable reference to the early history of Northwest art, with well-worn and closely guarded copies found in libraries and art collections throughout Oregon and nationally. The original volume was an encyclopedia and index of Oregon painters, with historical data about the evolution of painting styles, educational institutions, and exhibition venues in the Northwest. Oregon Painters: Landscape to Modernism, 1859-1959 expands the focus on the history of painting in Oregon by adding essays on Impressionism and Modernism while using more and better visual examples to illustrate the strength of the state's early painters. In addition, the original indexed content has been edited and condensed. Essays address Indigenous art, the Lewis and Clark Exposition, the Impressionist and Modernist movements, New Deal Art, and the Federal Art Projects in Oregon. The biographical section is now fully illustrated with color images of the majority of the 630 painters' works. A list with an additional 4000 names is also included. Little has been written about the early history of Northwest art and this volume serves as a valuable resource for discovering artists who remain largely unknown but whose works continue to gain in reputation and value. With faithful full-color reproductions from institutional and private collections, it will be treasured by art students, scholars, teachers, gallery owners, museumgoers, collectors, and art lovers everywhere"--

Richly illustrated with colour plates of paintings from institutional and private collections as well as black-and-white photographs, this reference guide is a comprehensive study of early Oregon painters. Listings for over 500 Oregon artists offer biographical details and note where their work was shown and where it is now held. Additional essays on early art museums and art organizations, art galleries and exhibition spaces, and the Federal Art Projects of the 1930s show how the state created itself artistically.

What's the connection between Ken Kesey and Nancy's Yogurt? How about the difference between a hoedad and a webfoot? What became of the Pixie Kitchen and the vanished Lambert Gardens? The Oregon Companion is an A–Z handbook of over 1000 people, places, and things. From Abernethy and beaver money to houseboats, railroads, and the Zigzag River, an intrepid public historian separates fact from fiction — with his sense of humor intact. Entries include towns and cities, counties, rivers, lakes, and mountains; people who have left a mark on Oregon; industries, products, crops, and natural resources. Includes more than 160 historical black and white photos. This entertaining and delightfully meticulous compendium is an essential reference for anyone curious about Oregon.

Throughout his long and prolific career, Ray Stanford Strong (1905–2006) strove to capture the essence of the western American landscape. An accomplished painter who achieved national fame during the New Deal era, Strong is best known for his depiction of landscapes in California and Oregon, rendered in his signature plein air style. This beautiful volume, featuring more than 100 color and black-and-white illustrations, is the first comprehensive exploration of Strong’s life and artistry. Through family papers, archives, photographs, and a two-year series of interviews conducted with the artist personally, Mark Humpal traces Strong’s journey from his childhood on an Oregon berry farm to his artistically formative years in New York and San Francisco. After moving back to the West Coast, Strong produced important works for the WPA, executed major diorama projects for two world expositions, helped organize the Santa Barbara Art Institute, and served as teacher and mentor for a new generation of plein air artists. But, as Humpal emphasizes, Strong distinguished himself by resisting the drumbeat of the avant-garde. During an era when many artists were experimenting with abstract expressionism, Strong never relinquished his personal vision and adherence to a more traditional style. With his outgoing personality, he forged friendships and associations with such prominent artists as Frank Vincent DuMond, Maynard Dixon, Ansel Adams, Frank Lloyd Wright, and John Steinbeck. Ultimately, Strong had little concern for his place in the sweep of art history. The proficiency he achieved through years of formal and informal study allowed him to craft a personal style difficult to categorize but unique and engaging. By expanding our understanding and appreciation of Strong’s artistic contributions, this book offers a fitting tribute to one of America’s finest landscape artists.