Marsden Hartley had a lifelong personal and aesthetic engagement with Maine, where he was born in 1877 and where he died at age sixty-six. As an important member of the artistic circle promoted by Alfred Stieglitz, Hartley began his career by painting the mountains of western Maine. He subsequently led a peripatetic life, traveling throughout Europe and North America and only occasionally visiting his native state. By midlife, however, his itinerant existence had taken an emotional toll, and he confided to Stieglitz that he wanted “so earnestly a ‘place’ to be.” Finally returning to the state in his later years, he transformed his identity from urbane sophisticate to “the painter from Maine.” But while Maine has played a clear and defining role in Hartley’s art, not until now has this relationship been studied with the breadth and richness it warrants. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} Marsden Hartley’s Maine is the first in-depth discussion of Hartley’s complex and shifting relationship to his native state. Illustrated with works from throughout the painter’s career, it provides a nuanced understanding of Hartley’s artistic range, from the exhilarating Post-Impressionist landscapes of his early years to the late, roughly rendered paintings of Maine and its people. The absorbing essays examine Hartley’s view of Maine as a place of light and darkness whose spirit imbued his art, which encompassed buoyant coastal views, mournful mountain vistas, and portraits of Mainers. An illustrated chronology provides an overview of Hartley’s life, juxtaposing major personal incidents with concurrent events in Maine’s history. For Hartley, who was strongly influenced by such artists as Paul Cézanne, Winslow Homer, and Albert Pinkham Ryder, Maine was an enduring source of inspiration, one powerfully intertwined with his past, his cultural milieu, and his desire to create a regional expression of American modernism.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

DIVA collection of writings from the influential feminist art journal M/E/A/N/I/N/G, with a forward by Johanna Drucker./div

We are proud to announce that The Art of Symeon Shimin has been awarded: ★The Independent Press Awards named The Art of Symeon Shimin the Distinguished Favorite for Fine Arts, 2020. ★Winner of 2020 NYC Big Book Award in Arts and Entertainment ★Winner of The 2021 Book Excellence Award for Art ★Winner Pinnacle Book Achievement Award from National Association of Book Entrepreneurs (NABE) ★The 2021 Eric Hoffer Honorary Mention Award for Art. ★ Next Generation Indie Book Awards Finalist. Art ★ 2021 IPPY Award Winner Bronze Medal Award for Fine Art "This coffee-table style volume (9.6 x 0.7 x 11.7 inches) is an impressively informative presentation that clearly and effectively showcases the life and work of one of the 20th Century's most gifted artists -- and should be considered an essential and core addition to personal, professional, community, college, and university fine arts collections."--Midwest Book Review The Art of Symeon Shiminpresents a striking collection of the fine art of this exceptional Russian born Jewish artist. Curated by the artist's daughter, it is the first collection and overview of Shimin's work. Including an autobiography by the artist, essays by noted arts journalists Josef Woodard and Charles Donelan, over 100 plates and archival photographs, this book showcases art of rare beauty and raw expression.Recognized as an award winning illustrator of more than 50 children's books, two of his own authoring, Shimin, 1902-1984, was also one of the most highly regarded artists creating posters for Hollywood films, including the original poster for Gone With the Wind and the 40 ft. canvas for Solomon and Sheba. Most notably he was acclaimed for his masterpiece, the mural Contemporary Justice and the Child, commissioned in 1936-1940, by the PWAP, Public Works Arts Project, for the Department of Justice Building, Washington, DC, where it stands today. Chaim Gross stated in 1973, "Shimin is a painter who knows the craft of drawing and painting which in his hands becomes great art." With paintings held in collections including the Chrysler Museum of Art, this is the first complete collection of his fine art. "Symeon Shimin was a vessel for the unheard voices of his time. Those who were shunned, he highlighted; for those who were unseen, he provided a stage. He saw the common man for what he was - beautiful, exceptional, and equal." -Lauren Kinsley, Research Editor

In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world who was drawn to artists impatient for change. By 1965, he was representing Mark di Suvero, was the first to show Andy Warhol’s pop art, and pioneered the practice of “off-site” exhibitions and introduced the new genre of installation art. As a dealer, he helped discover and champion many of the innovative successors to the abstract expressionists, including Claes Oldenburg, James Rosenquist, Donald Judd, Dan Flavin, Walter De Maria, and many others. The founder and director of the fabled Green Gallery on Fifty-Seventh Street, Bellamy thrived on the energy of the sixties. With the covert support of America’s first celebrity art collectors, Robert and Ethel Scull, Bellamy gained his footing just as pop art, minimalism, and conceptual art were taking hold and the art world was becoming a playground for millionaires. Yet as an eccentric impresario dogged by alcohol and uninterested in profits or posterity, Bellamy rarely did more than show the work he loved. As fellow dealers such as Leo Castelli and Sidney Janis capitalized on the stars he helped find, Bellamy slowly slid into obscurity, becoming the quiet man in oversize glasses in the corner of the room, a knowing and mischievous smile on his face. Born to an American father and a Chinese mother in a Cincinnati suburb, Bellamy moved to New York in his twenties and made a life for himself between the Beat orbits of Provincetown and white-glove events like the Guggenheim’s opening gala. No matter the scene, he was always considered “one of us,” partying with Norman Mailer, befriending Diane Arbus and Yoko Ono, and hosting or performing in historic Happenings. From his early days at the Hansa Gallery to his time at the Green to his later life as a private dealer, Bellamy had his finger on the pulse of the culture. Based on decades of research and on hundreds of interviews with Bellamy’s artists, friends, colleagues, and lovers, Judith E. Stein’s Eye of the Sixties rescues the legacy of the elusive art dealer and tells the story of a counterculture that became the mainstream. A tale of money, taste, loyalty, and luck, Richard Bellamy’s life is a remarkable window into the art of the twentieth century and the making of a generation’s aesthetic. -- "Bellamy had an understanding of art and a very fine sense of discovery. There was nobody like him, I think. I certainly consider myself his pupil." --Leo Castelli