Six plein-air painters in Oakland, California, joined together in 1917 to form an association that lasted nearly fifteen years. The Society of Six—Selden Connor Gile, Maurice Logan, William H. Clapp, August F. Gay, Bernard von Eichman, and Louis Siegriest—created a color-centered modernist idiom that shocked establishment tastes but remains the most advanced painting of its era in Northern California. Nancy Boas's well-informed and sumptuously illustrated chronicle recognizes the importance of these six painters in the history of American Post-Impressionism. The Six found themselves in the position of an avant garde not because they set out to reject conventionality, but because they aspired to create their own indigenous modernism. While the artists were considered outsiders in their time, their work is now recognized as part of the vital and enduring lineage of American art. Depression hardship ended the Six's ascendancy, but their painterliness, use of color, and deep alliance with the land and the light became a beacon for postwar Northern California modern painters such as Richard Diebenkorn and Wayne Thiebaud. Combining biography and critical analysis, Nancy Boas offers a fitting tribute to the lives and exhilarating painting of the Society of Six.

"The Oakland Six may constitute the most important modernist development that occurred in this country during the 1920s."--William H. Gerdts, author of American Impressionism

This definitive documentary history of the Society that made the northern New Mexico town famous as an art colony.

The Immortal Six Hundred were 600 Confederate officers сфзегкув by the Union Army in 1864–65. In 1863, the Confederacy passed a resolution stating all arrested African-American soldiers and the officers of colored troops would not be returned. That resolution also allowed any captured officer of colored troops to be executed or sold into slavery. John Ogden Murray, a major in the Confederate Army and an author, wrote a firsthand account of Confederate prisoners of war. He is also credited with coining the phrase "Immortal Six Hundred."

“An elegant and accessible” investigation of quantum mechanics for non-specialists—“highly recommended” for students of the sciences, sci-fi fans, and anyone interested in the strange world of quantum physics (Forbes) Rules of the quantum world seem to say that a cat can be both alive and dead at the same time and a particle can be in two places at once. And that particle is also a wave; everything in the quantum world can described in terms of waves—or entirely in terms of particles. These interpretations were all established by the end of the 1920s, by Erwin Schrödinger, Werner Heisenberg, Paul Dirac, and others. But no one has yet come up with a common sense explanation of what is going on. In this concise and engaging book, astrophysicist John Gribbin offers an overview of six of the leading interpretations of quantum mechanics. Gribbin calls his account “agnostic,” explaining that none of these interpretations is any better—or any worse—than any of the others. Gribbin presents the Copenhagen Interpretation, promoted by Niels Bohr and named by Heisenberg; the Pilot-Wave Interpretation, developed by Louis de Broglie; the Many Worlds Interpretation (termed “excess baggage” by Gribbin); the Decoherence Interpretation (“incoherent”); the Ensemble “Non-Interpretation”; and the Timeless Transactional Interpretation (which theorized waves going both forward and backward in time). All of these interpretations are crazy, Gribbin warns, and some are more crazy than others—but in the quantum world, being more crazy does not necessarily mean more wrong.