The first in a beautiful four-volume complete catalogue of all known works by the beloved American artist William Merritt Chase A perennial favorite of museum visitors, the works of William Merritt Chase (1849-1916) embody the quintessential characteristics of American Impressionism: outdoor landscapes, a colorful palette, and an energetic brushstroke. He was also a portrait painter of the first rank, a master of still life, a renowned teacher, and a leader of artists' societies. This gorgeous book, the first of a four-volume definitive catalogue, features Chase's stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolors; and prints. Reconstructing Chase's oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase's paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase's work during the artist's lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase's innovative pastel technique.

The biographical material formerly included in the directory is issued separately as Who's who in American art, 1936/37-

This reference organizes and describes the primary and secondary literature surrounding Mary Stevenson Cassatt, Berthe Morisot, Eva Gonzalès, and Marie Bracquemond, four major women Impressionist artists. The Impressionist group included several women artists of considerable ability whose works and lives were largely ignored until the advent of feminist art criticism in the early 1970s. They studied, worked, and exhibited with their male counterparts including Degas, Manet, Monet, and Pissarro. The entries provide extensive coverage of the careers, critical reception, exhibition history, and growing reputations of these four female artists and discuss women Impressionists in general as they shared the challenges of becoming accepted as professional artists in late 19th-century society. Containing nearly 900 citations of manuscripts, books, articles, reproductions, films, exhibitions, and reviews, this unique sourcebook will appeal to both art and women's studies scholars. Each artist receives a biographical sketch, chronology, information about individual and group exhibitions and reviews, and a primary and secondary bibliography, which captures details about the artist's life, career, and relationship with other artists. An art works index and names index complete the volume.