Timed with the centennial of the Panama-Pacific International Exposition (PPIE) of 1915, Jewel City presents a large and representative selection of artworks from the fair, emphasizing the variety of paintings, sculptures, photographs, and prints that greeted attendees. It is unique in its focus on the works of art that were scattered among the venues of the expositionÑthe most comprehensive art exhibition ever shown on the West Coast. Notably, the PPIE included the first American presentations of Italian Futurism, Austrian Expressionism, and Hungarian avant-garde painting, and there were also major displays of paintings by prominent Americans, especially those working in the Impressionist style. This lavishly illustrated catalogue features works by masters such as Winslow Homer, John Singer Sargent, Claude Monet, Paul CŽzanne, Robert Henri, Edward Weston, Imogen Cunningham, Edvard Munch, Oskar Kokoschka, Umberto Boccioni, and many more. The volume also explores the PPIEÕs distinctive murals program, developments in the art of printmaking, and the legacy of the French Pavilion, which hosted an abundance of works by Auguste Rodin and inspired the founding and architecture of the Legion of Honor museum in San Francisco. A rich and fascinating study of a critical moment in American and European art history, Jewel City is indispensable for understanding both the United StatesÕ and CaliforniaÕs role in the reception of modernism as well as the regionÕs historical place on the international art stage. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young Museum, San Francisco: October 17, 2015ÐJanuary 10, 2016

This richly illustrated and well-researched volume recounts in detail the history of the fair that brought Seattle and Washington into the national spotlight. The A-Y-P Exposition, held in Seattle in 1909 on the future site of the University of Washington, welcomed 3.7 million visitors and was the first world's fair to make a profit.

Letters of appreciation and congratulations from prominent citizens, businessmen, educators, leaders of organizations, political figures, etc.

The Beauty of the Infinite is a splendid extended essay in "theological aesthetics." David Bentley Hart here meditates on the power of a Christian understanding of beauty and sublimity to rise above the violence -- both philosophical and literal -- characteristic of the postmodern world. The book begins by tracing the shifting use and nature of metaphysics in the thought of Kant, Hegel, Nietzsche, Heidegger, Lyotard, Derrida, Deleuze, Nancy, Levinas, and others. Hart pays special attention to Nietzsche's famous narrative of the "will to power" -- a narrative largely adopted by the world today -- and he offers an engaging revision (though not rejection) of the genealogy of nihilism, thereby highlighting the significant "interruption" that Christian thought introduced into the history of metaphysics. This discussion sets the stage for a retrieval of the classic Christian account of beauty and sublimity, and of the relation of both to the question of being. Written in the form of a dogmatica minora, this main section of the book offers a pointed reading of the Christian story in four moments, or parts: Trinity, creation, salvation, and eschaton. Through a combination of narrative and argument throughout, Hart ends up demonstrating the power of Christian metaphysics not only to withstand the critiques of modern and postmodern thought but also to move well beyond them. Strikingly original and deeply rewarding, The Beauty of the Infinite is both a constructively critical account of the history of metaphysics and a compelling contribution to it.