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"With a laugh, Laura Lewis says of her art, "I am uncomfortable painting mountains, because they get in the way of the view." The challenge for this High Plains realist is to create strong compositions out of the extreme horizontals that predominate her chosen artistic geography. As the works in this book will attest, Lewis excels in capturing the views discovered in her ramblings across the length and breadth of the region she has dubbed the "Great Plains of Texas." Her paintings are a celebration of the land and the people that capture the distilled essence of a place that has formed her vision and her understanding of what it means to be at home. Opening with a foreword by longtime columnist and Texas observer Joe Holley, At Home on the Great Plains of Texas offers images of paintings that Lewis intends as "a glass of cool water for anyone thirsting for the beauty to be found here." The paintings are interspersed with vignettes by Christina Mulkey, a writer whom Lewis invited to accompany her on many of her "image safaris." Collectors, scholars, and historians have long known about and frequently commented on the centrality of place in Texas art. With the paintings in At Home on the Great Plains of Texas, Laura Lynn Lewis takes her place among the ranks of those who teach us the art of transformative perception; we learn how to "attend," in Mulkey's words. In seeing the arid, broad vistas of Lewis's home country, we better understand how to appreciate our own landscapes of belonging"--

Landscape painting, American --- Lewis, Laura, --- Texas, West --- Great Plains

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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.

Landscape painting, American --- Color in art --- Painting --- Visual Arts --- Art, Architecture & Applied Arts --- Colors in art --- Art --- Monochrome art --- American landscape painting --- Society of Six. --- Color in art.

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George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry-including optics, psychology, physiology, and mathematics-with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape-the first in-depth examination of Inness's career to appear in several decades-demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.

Landscape painting, American --- Spirituality in art. --- Landscape painting --- Inness, George, --- Criticism and interpretation. --- landscape, painting, painter, art, countryside, nature, george inness, mathematics, physiology, psychology, optics, visibility, mysticism, invisibility, spirit, perception, expression, science, labor, vision, memory, unity, allegory, past, nostalgia, spiritual sight, methodology, nonfiction, criticism, god, divinity, religion, christianity.