Tells the stories behind Baltimore's monuments. From the twentieth-century sculpture of the Inner Harbor's Baltimore Renaissance to the nineteenth-century splendor of Mount Vernon Place, this work invites us to see Baltimore in a fresh perspective.

This book tells the stories behind the many District of Columbia statues that honor participants in the Civil War. Organized geographically for easy use on walking or driving tours, the entries list the subject and title of each memorial along with its sculptor, medium, date, and location. 92 photos.

Carsick is the New York Times bestselling chronicle of a cross-country hitchhiking journey with America's most beloved weirdo. John Waters is putting his life on the line. Armed with wit, a pencil-thin mustache, and a cardboard sign that reads "I'm Not Psycho," he hitchhikes across America from Baltimore to San Francisco, braving lonely roads and treacherous drivers. But who should we be more worried about, the delicate film director with genteel manners or the unsuspecting travelers transporting the Pope of Trash? Before he leaves for this bizarre adventure, Waters fantasizes about the best and worst possible scenarios: a friendly drug dealer hands over piles of cash to finance films with no questions asked, a demolition-derby driver makes a filthy sexual request in the middle of a race, a gun-toting drunk terrorizes and holds him hostage, and a Kansas vice squad entraps and throws him in jail. So what really happens when this cult legend sticks out his thumb and faces the open road? His real-life rides include a gentle eighty-one-year-old farmer who is convinced Waters is a hobo, an indie band on tour, and the perverse filmmaker's unexpected hero: a young, sandy-haired Republican in a Corvette. Laced with subversive humor and warm intelligence, Carsick is an unforgettable vacation with a wickedly funny companion—and a celebration of America's weird, astonishing, and generous citizenry.

The Washington Monument is one of the most easily recognized structures in America, if not the world, yet the long and tortuous history of its construction is much less well known. Beginning with its sponsorship by the Washington National Monument Society and the grudging support of a largely indifferent Congress, the Monument's 1848 groundbreaking led only to a truncated obelisk, beset by attacks by the Know Nothing Party and lack of secured funding and, from the mid-1850s, to a twenty-year interregnum. It was only 1n 1876 that a Joint Commission of Congress revived the Monument and entrusted its completion to the U.S. Army Corps of Engineers.In "To the Immortal Name and Memory of George Washington": The United States Corps of Engineers and the Construction of the Washington Monument, historian Louis Torres tells the fascinating story of the Monument, with a particular focus on the efforts of Lieutenant Colonel Thomas Lincoln Casey, Captain George W. Davis, and civilian Corps employee Bernard Richardson Green and the details of how they completed the construction of this great American landmark. The book also includes a discussion and images of the various designs, some of them incredibly elaborate compared to the austere simplicity of the original, and an account of Corps stewardship of the Monument up to its takeover by the National Park Service in 1933. First published in 1985. 148 pages, ill.

Surprisingly, the story of how William Walters and his son Henry created one of the finest privately assembled museums in the United States has not been told."--BOOK JACKET.

The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.