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“The best book yet written about this neglected and fascinating American painter” who anticipated abstract expressionism by more than fifty years (Gail Levin, The New York Times Book Review). At the dawn of the 20th century, Ralph Blakelock’s brooding, hallucinogenic paintings were a striking departure from the prevailing American tradition—and as sought after as the works of Winslow Homer and John Singer Sargent. In 1916, the record-breaking sale of Blakelock’s Brook by Moonlight made him famous. Yet at the time of his triumph, the troubled painter had spent fifteen years in a psychiatric hospital while his family lived in poverty. Released from the asylum, Blakelock fell into the dubious care of an eccentric adventuress, Beatrice Van Rensselaer Adams, who kept him a virtual prisoner while siphoning off the profits of his success, until his mysterious death. In this acclaimed biography, Glyn Vincent offers the first complete chronicle of Blakelock’s life. Vividly portraying New York in the nineteenth and early twentieth centuries, the narrative begins with his childhood in Greenwich Village and the years he spent peddling his canvases door-to-door and playing piano in vaudeville theaters. Vincent also delves into Blakelock’s journeys among the Sioux and Uinta Native Americans; his mental illness; and the way his exploration of mysticism informed his radical shift away from the Hudson River School of art.
"Indeed, Shirley's house and land are now, after a long and bitter fight, forever lost to her in the construction of a water reservoir that feeds the government's hydroelectric plant. The story of this battle is the story of Shirley's generation and the faltering generation that follows - of violent love and losses, of children turning away only to find themselves forever negotiating the nuances of identity, of popular culture in chaotic juxtaposition with the sometimes even more incredible realities of Native life."--BOOK JACKET.
"Art" is not the first topic that comes to mind when thinking of Paul Auster's novels and films. "Solitude", "emptiness", "loss" and "desperation" are more likely to suit the reader's expectation. Add "intertextuality", "pastiche", and "metalinguistic games" and you find yourself amidst postmodern scholars appraising his works. However, it is indeed a mistake not to consider creativity and art when reading Paul Auster. Although his protagonists often find themselves confronted with hopeless predicaments, they often manage to overcome their crises of orientation by means of creative processes. Art is presented as a strategy to cope with the chaos of the postmodern living situation. Martina Süßenguth looks at Auster's early novels and films and analyses how Auster views art as an experience through which to cope with reality. She examines the inclusion of chance into creative processes as well as Auster's collaborations with contemporary artists like Sophie Calle and Sam Messer.
The Unknown Blakelock offers new perspectives on Ralph A. Blakelock (1847–1919) by addressing the modernity of his accomplishments as reflected in the exhibition’s paintings. A self-taught artist, Blakelock digressed from habitual procedures into stylistic experiments that were considerably in advance of common practice of the time. Associated primarily with the two dominant themes of moonlight views and Indian encampments, Blakelock was already acknowledged as a colorist during his career, an aspect of his painting attesting to his receptivity to modernist developments but largely overlooked in critical discourse. The works featured in this exhibition also attest to a salient characteristic of our own time, namely, the artist’s growing autonomy. The Unknown Blakelock explores this ongoing impact of Blakelock’s work, which has previously been placed in the context of the exploration of his own—not our—contemporaries. The Unknown Blakelock is a catalog of the exhibition of lesser-known works of Blakelock held at the Sheldon Museum of Art at the University of Nebraska–Lincoln, from January 25 to August 24, 2008, and at the National Academy Museum and School of Fine Arts in New York City, from September 25, 2008, to January 4, 2009.
This book provides the first complete account of the life and work of Charles Warren Eaton. It also fills an enormous gap in American art history by telling the story of the Tonalist movement.

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