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P is for Painter. Determined to be a Painter, Perfect Stewart Pickyly searches for the Perfect model. Childlike illustrations offer the reader a glimpse into the world of this Perfect child Painter. Although he has painted kittens with mittens and dogs wearing clogs, Stewart has never seen or painted a wild animal while living in the city. So he heads for the jungle and posts a sign: "WANTED: Hansum wild animal to sit still for painting. Must have all your own teeth and a nice big smile." After cruelly rejecting an elephant, cheetah, giraffe, and hippo to sit as models because they were all ugly, Stewart finds the Perfect model with bright shiny teeth. But little does he know what the Perfect model will cost him, for he has finally met his match. The ending may be shocking for younger children, but along with barrels of laughs, children will learn the moral of the story - treat others with kindness even though they may not offer you what you want because if you are too picky, you may pay the price. The sturdy cover ensures that the book will stand circulation well, and the age-old moral will teach a valuable lesson and remain a timeless story that children will long remember.

Always Bright: Paintings By American Chinese Artists 1970-1999 showcases the work of eighty acclaimed American Chinese arts and places their art into three categories: oil painting, Chinese painting, and other media painting. Always Bright also profiles the artists and furnishes information on their professional accomplishment. Always Bright fills a gap in contemporary art history and will eminently satisfy art students and connoisseurs seeking to known and attain a sound appreciation of American Chinese artists and their accomplishments. These representative artists come from a variety of backgrounds, use different media, belong to different schools. but share an innate Chinese temperament, life experience, original thinking, and unique expressions. All of the paintings combine to reflect a facet of splendid Chinese culture that has been transplanted from the old world to the new -- to the enriched enhancement of both.

Charles Sullivan has given readers a fine book which they will refer to again and again. His selections of poetry and art reveal a keen knowledge of both, all to benefit of readers. Long live this book

The exhibit in Vienna was small but sensational (not in the "Sensation" sense). The curators really did a great job finding these works representative of 19th century painting. There are works by Church, Hassam, Sargent and more. The exhibit though small was quite overwhelming. It helps to have a catalogue that has scholarly readable articles that accompany the paintings.

Before the Second World War, while the "Ash Can" school was stealing the cultural limelight, a group of European immigrants brought the abstract European tradition to America. Their work is still exciting and fresh, as this skillfully assembled collection makes clear. Unless you have studied the period extensively, you're likely to recognize only a handful of names, Calder and Stuart among them. What a wonderful surprise this book is. How could we have overlooked these gloriously gifted artists?

This book provides the reader with factory paint codes and descriptions for American cars built from 1945-95. It is particularly valuable for car restorers/collectors who are in the process of repainting their car and need to know the correct color. A restored car is always worth more if it is painted in the original factory color.

Talvez a melhor seleção de ilustração nos EUA. É um anuário mais preocupado com trabalhos autorais e conceitualmente interessantes, incluindo boa parte dos considerados "alternativos".

All too often when we think of "The Impressionists," or "Impressionism," we immediately think of the French Impressionists, awesome as they are, and perhaps simply leave it at that. Yet what about the American Impressionists? Hold onto your hats, folks! I am here to tell you about a group of artists as every bit as awesome as their fellow French artists, and they are all lavishly presented in this huge, incredible book. If you have a passion for art in general, or for Impressionism, and history too, you will cherish this book. There are over 400 paintings beautifully reproduced within the pages by 125 artists, along with the very fascinating text Dr. Gerdts has written about them all. Don't think this book can only be grasped by art scholars and is for them. The well written text is easy to grasp, and certainly will be enjoyed. The book begins by focusing on painting as it was in the mid-1800's, the very roots of Impressionism. Now then, for those who have never really thought about exactly WHAT Impressionism is, the name comes from a painting exhibited by Claude Monet in 1874, entitled "Impression Sunrise," and the rest is history, however, the meaning has to do with the play of light upon a scene at that VERY moment, while the artist is painting it. In Monet's own words: "a spontaneous work rather than a calculated one." Anyway, Dr. Gerdts then presents the relationship between the American and French Impressionists, and gives wonderful anecdotes about the American artists' adventures as they flocked to Giverny to study with Monet. From here, we learn how the critics attacked the artists here, as they did the French artists abroad. But they soon triumphed during the 1893 Chicago World's Fair. From there, we follow their progress, until eventually, Impressionism was replaced by Cubism and Surrealism. Some of the most well known American Impressionists are Childe Hassam, J. Alden Weir, Philip Hale, John Twachtman, Willard Metcalf, Edmund Tarbell, William Merritt Chase, and Frank Benson, to name a few. The book focuses upon more though, oh, so much more. This is a splendid book, and well worth having. I highly recommend "American Impressionism."

American Impressionists and Realists were farther apart in time than they were in what they painted. In fact, with both groups their art grew out of training in Paris; liking for modern French painting; and building an American art that would support American nationalism by faith in the future, the present, and the good old days. They both went outdoors, to the growing system of parks and places for holiday outings, as in Impressionist William Merritt Chase's brightly colored "Prospect Park, Brooklyn," with its Gustave Caillebotte-type compressed backgrounds, exaggeratedly converging spaces, and splayed foregrounds; and in the rugged "Central Park in winter," where Realist William Glackens painted sharply contrasting light and dark side by side and wavily-formed lively children into vigorously brushworked snowy chill. Both groups chose personally meaningful, over nationally significant, places to paint, as in Impressionist Childe Hassam's "Late afternoon, New York: winter" brilliantly light-touched and delicately paint-stitched in one overall tone and Realist Robert Henri's energetically darker-toned "Street scene with snow." Or historical landscapes, such as "Gloucester harbor" through Impressionist Willard Metcalf's dazzlingly wide-banded high-key color for bright summer sun-lighted skies and under Realist John Sloan's late afternoon powerful glow, low sun-cast strong shadows, and storm clouds over Fauvist-type intensely colored and heavily pigmented industrial cranes and wharves. In fact, they both tended to be city painters, as in Childe Hassam's "Rainy day, Boston," with its "Church of St-Philippe-du-Roule" plunging perspective, empty central foreground, masterly controlled narrow tonal palette, and two streets panoramically joined; and in "Bleeker and Carmine Streets" by Impressionist George Luks, as the intersection for overcrowded immigrant slums, ramshackled cold-water flats, and boardinghouses in heavy impastos and somber palette. Both were also aware of how nature was part of doing business in the city, as in the hothouse flower sales of Childe Hassam's lightly brushed "At the florist" and John Sloan's gritty, realistically colored, and vigorously brushed "Easter eve." Both groups were concerned, too, over how industrialization was changing American life, but with Impressionist J Alden Weir's Willimantic Linen Company's "Factory village" naturally fitting as a picturesque river valley industry in the middle of lushly fresh fields while George Luks hunched his driver over the reins to a horse-drawn "Butcher cart" on a slushily dark Manhattan street. Both cared about how people fit into the changing American life so they likewise went in for portraits, as in William Merritt Chase's "James McNeill Whistler," with the sitter's style of broadly applied paint, low-key palette, and thin washes; and in Robert Henri's "George Luks," with the sitter's coarsely provocative painting style of crudely bold slashing strokes and richly dark colors. Both groups had similar concerns about how people were interacting with each other, as in the children playing at Childe Hassam's privileged "Lake for miniature yachts" under the gaze of near-by adults and at John Sloan's "Backyards, Greenwich Village" around the beckoning responsibilities of hanging laundry. Or as in adult time out, with the music of the James Whistler-type sobre paletted "At the piano" by Impressionist Theodore Robinson and of the Honore Daumier- and Francisco Goya-type exaggeratedly expressive "Spielers" shown frenetically dancing by George Luks. Or with a French-styled drawing viewers into the woman in black's box as a figure leaves the upper left corner box in Impressionist Mary Cassatt's "At the opera" and up along with craning spectators at the acrobat inching along the tightrope in "Hammerstein's roof garden" by William Glackens. Or with a surprising sympathy for the performer passed down from Jean-Antoine Watteau's "Gilles" to William Merritt Chase's hunchbacked jester pouring a bracing drink and John Sloan's harshly lit clown making up. So authors H Barbara Weinberg et al's book, with its gorgeously illustrated and nicely organized text, trailblazes looking at the similarities in the art by the 26 artists participating in the New York Metropolitan Museum of Art's traveling exhibition on AMERICAN IMPRESSIONISM AND REALISM.

This is primarily a picture book that reproduces paintings in the Worcester Art Museum -- about half of the book is color plates. I read the text that comes with it, and it's a nice introduction to American Impessionism, brief (which was what attracted me to it, I'm ashamed to say), maybe a little long on analysis and short on lively anecdote, but a good introduction nonetheless. It has definitely motivated me to find out more about The Ten, and also some of the social factors that came into play with the painting of the turn of the twentieth century.