Widely celebrated as the father of the Studio Furniture Movement, Wharton Esherick is one of the most important furniture designers of the twentieth century. Presenting his preserved hillside house and studio, this book showcases seven decades of innovative woodwork and sculpture, embodying his influence on American art and design. Wharton Esherick (1887–1970) stands as a pivotal figure in 20th-century American art, craft, and design. Now known as the Wharton Esherick Museum, the artist’s self-proclaimed “autobiography in three dimensions” on Valley Forge Mountain, constructed between 1926 and 1966, served as his creative epicenter and a vibrant community hub. To introduce Esherick’s visionary work to a broader public, this book draws on the museum’s collection of almost 3,000 objects, many never before seen outside his home and studio, following Esherick’s evolution from paintings and woodcut illustrations to his revolutionary fusion of furniture and organic sculpture. Through fully contextualizing iconic works in Esherick’s own space, this book immerses readers in his creative world while capturing his unparalleled artistic contributions to the realms of furniture, architecture, prints, drawings, and sculpture.

Wharton Esherick (1887- 1970) lived to create. He found his true voice in sculpture, working primarily in local woods he gathered from the forest surrounding his home and studio in rural Pennsylvania. The spiritual father of the contemporary studio furniture movement in America, he pioneered the way for successive generations of woodworking artists to develop their original designs. His work blurs the traditional distinctions between sculpture and furniture, form and function. Written by Esherick's son-in-law, this book features photographs of Esherick's most important artworks as well as the woodland studio he designed, built, and furnished over the course of several decades.

Daring Design: The Impact of Three Women on Wharton Esherick's Craft explores the significant impact of three women-Helene Fischer, Hanna Weil, and Marjorie Content-on the artistic development and career of sculptor and studio craftsman Wharton Esherick.

Complete set of the thirteen woodcut illustrations used in the 1924 edition of Song of the Broad-axe by Walt Whitman, published by Centaur Press in Philadelphia. Each woodcut is titled and numbered "16". The titles are (as they appear in the book): No.I, Ship struck in storm, Beauty of woodmen, building, the forger, hell of war, The great city, of the best-bodied mothers, the hammers-men, the headsman, solid forest, the liquor-bar, and No.II.

Tour the private homes of three of the most esteemed wood artist/craftsmen of the modern era.

One of today’s most refreshing young creatives gives the inside scoop on how to make it as a graphic artist. From art school student to designer for Nike, Topshop, and Google, Kate Moross has lived the life that young graphic artists dream of. But it hasn’t always been a smooth ride, and in this informative memoir and guide Moross offers true insider’s tips on how to make it in a highly competitive field. Written in an approachable, forthright, and refreshingly honest tone, Make Your Own Luck features chapters on how to thrive in art school, developing your own style, how to self-promote, collaboration with other artists, how to deal with "copycats", and when to consider working for free. She also touches on the fine points of music packaging and videos, how to find an agent, and looks back on the touchstone moments that helped shape her career. Designed to mimic Moross’s signature bold, brightly colored style, this book is filled with dozens of examples of her work for publications including The Guardian, Vice and FACT Magazine, companies such as Adidas and Nokia, and musicians including Simian Mobile Disco, Jessie Ware, Zomby, and Pictureplane. Irreverent and packed with helpful tips for designers of all stripes, Make Your Own Luck is certain to become an indispensable guide for anyone interested in graphic art as a vocation or hobby.

This lovely book provides the first comprehensive examination of Eastman Johnson's vivid paintings of a quintessential New England theme - the making of maple sugar. This series of pictures, executed during the 1860s, is perhaps the most ambitious project in the artist's career. Brian Allen discusses the ways in which Johnson's maple sugar paintings reflect a New England on the edge of vast changes, both in the technology of farming and in the social structures of small communities. He notes how Johnson conveys the tense, shifting relationship that existed between industrial innovation and New England's distinctive brand of community spirit, evident through maple sugar's close association with free labour, as opposed to cane sugar's connection with slavery. Presented here in full colour, Johnson's maple sugar paintings are both a celebration of New England and a commentary on a bygone era. This book is the catalogue for an exhibition organized by the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (January 18 to April 18, 2004), and traveling to The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California (May 11 to August 1, 2004).