This book, which has been painstakingly researched and beautifully photographed over many years, takes a close look at twenty of the finest examples of Beaux-Arts architecture in New York City. While showing public exteriors, its focus is on the lavish interiors that are associated with the opulence of the Gilded Age--often providing a glimpse inside buildings not otherwise viewable to the public. The pages recount not only the fascinating stories of some of New York's most famous and significant Beaux-Arts buildings, it also recalls the lives of those who commissioned, designed, and built them.
A "palace" ruled by a "queen," Harbor Hill in Roslyn, Long Island, was commissioned by the beautiful and imperious Katherine Duer Mackay, wife of one of the country's wealthiest men. The mansion along with its magnificent furnishings, art, gardens, and the owners' striving, hubris, and ultimate failure are the dramatis personae of this saga. Stanford White, the architect, wrote, "with the exception of Biltmore, I do not think there will be an estate equal to it in the country." An extravagant product of the desire for social acceptance, the portrait encompasses western mining and old versus new wealth, religious differences and the building of a church, art collecting, and the many people, from the architects, builders, and workers to the servants and staff who ran the house and gardens. Harbor Hill's story includes elements of farce and tragedy; in a sense it is an American portrait.
The Mount, Edith Wharton’s country place in the Berkshires, is truly an autobiographical house. There Wharton wrote some of her best-known and successful novels, including Ethan Frome and House of Mirth. The house itself, completed in 1902, embodies principles set forth in Wharton's famous book The Decoration of Houses, and the surrounding landscape displays her deep knowledge of Italian gardens. Wandering the grounds of this historic home, one can see the influence of Wharton’s inimitable spirit in its architecture and design, just as one can sense the Mount’s impact on the extraordinary life of Edith Wharton herself. The Mount sits in the rolling landscape of the Berkshire Hills, with views overlooking Laurel Lake and all the way out to the mountains. At the turn of the century, Lenox and Stockbridge were thriving summer resort communities, home to Vanderbilts, Sloanes, and other prominent families of the Gilded Age. At once a leader and a recorder of this glamorous society, Edith Wharton stands at the pinnacle of turn of the twentieth-century American literature and social history. The Mount was crucial to her success, and the story of her life there is filled with gatherings of literary figures and artists. Edith Wharton at Home presents Wharton’s life at The Mount in vivid detail with authoritative text by Richard Guy Wilson and archival images, as well as new color photography of the restoration of The Mount and its spectacular gardens. "The Mount was to give me country cares and joys, long happy rides and drives through the wooded lanes of that loveliest region, the companionship of dear friends, and the freedom from trivial obligations, which was necessary if I was to go on with my writing. The Mount was my first real home . . . its blessed influence still lives in me." —Edith Wharton, 1934
Hard Times presents a comprehensive account of economic depressions in America, from colonial times to the “great recession” that began in 2008. Written in crisp prose for a general audience, the book synthesizes a narrative account—presenting the known facts about how particular depressions started, the effects upon people in different walks of life, the policy debates about what (if anything) to do in order to ameliorate the situation, and how these depressions ended—with analytical commentary on the economic patterns underlying and transcending depressions and the debates among economists and policymakers in regard to their causes. While these economic downturns have created suffering and hardship, Striner also conveys how Americans have always endured and rebounded from hard times.
A collection of photocopied articles published about the David Adler exhibition held at the Art Institute of Chicago, December 6, 2002 to May 18, 2003.
Richard Longstreth provides a detailed picture of the early careers of four architects—Bernard Maybeck, Willis Polk, Ernest Coxhead, and A.C. Schweinfurth—who had a decisive impact on the course of design in the San Francisco Bay Area and who stand as significant contributors to American architecture.
Art Deco buildings still lift their modernist principles and streamlined chrome into the skies of Baltimore and Washington, D.C. Second Place Winner of the Design and Effectiveness Award of the Washington Publishers The bold lines and decorative details of Art Deco have stood the test of time since one of its first appearances in the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925. Reflecting the confidence of modern mentality—streamlined, chrome, and glossy black—along with simple elegance, sharp lines, and cosmopolitan aspirations, Art Deco carried surprises, juxtaposing designs growing out of speed (racecars and airplanes) with ancient Egyptian and Mexican details, visual references to Russian ballet, and allusions to Asian art. While most often associated with such masterworks as New York’s Chrysler Building, Art Deco is evident in the architecture of many U.S. cities, including Washington and Baltimore. By updating the findings of two regional studies from the 1980s with new research, Richard Striner and Melissa Blair explore the most significant Art Deco buildings still standing and mourn those that have been lost. This comparative study illuminates contrasts between the white-collar New Deal capital and the blue-collar industrial port city, while noting such striking commonalities as the regional patterns of Baltimore’s John Jacob Zinc, who designed Art Deco cinemas in both cities. Uneven preservation efforts have allowed significant losses, but surviving examples of Art Deco architecture include the Bank of America building in Baltimore (now better known as 10 Light Street) and the Uptown Theater on Connecticut Avenue NW in Washington. Although possibly less glamorous or flamboyant than exemplars in New York or Miami, the authors find these structures—along with apartment houses and government buildings—typical of the Deco architecture found throughout the United States and well worth preserving. Demonstrating how an international design movement found its way into ordinary places, this study will appeal to architectural historians, as well as regional residents interested in developing a greater appreciation of Art Deco architecture in the mid-Atlantic region.
The now venerable firm of Royal Barry Wills was founded in a one-room office on Boston's Beacon Street in 1925. Initially fueled by word of mouth and occasional newspaper exposure, the firm gained admiration for Wills’s fresh take on various New England styles, including Georgian, Tudor, French Provincial, and Colonial American. Driven by the country's desire for both aesthetic appeal and practicality, the firm's popularity increased dramatically with its focus on the creation of modern homes inspired by the one-and-a-half-story Cape Cod houses, which perfectly balanced the classic and the new. Now run by his son, Richard Wills, the firm has been designing elegant private homes in the classically inspired Colonial New England tradition for more than eighty-five years. As time has passed, their Cape Cod-style homes have proven remarkably adaptable to the demands of contemporary life, while staying true to Wills's original flair for intermingling past and present. This book features examples of the firm's work from its founding to the present, with an emphasis on more recent houses that have been built throughout New England.
Trained at the University of South Florida, Robert Stackhouse was born in Bronxville, New York in 1942. By the 1980s Robert Stackhouse was regarded as one of America's most prominent young sculptors and his massive, ribbed installations were known nationwide. He taught at the Corcoran gallery and later returned to live in New York; by the 1990s his installations were going in large public places nationwide, then worldwide. --Covers the first thirty years of Stackhouse's rise to prominence 1969-1999 --Provides an early biography along with a progression of his work --Offers family pictures that personalize this catalog --His work is in the permanent collections of the Art Institute and The Museum of Contemporary Art in Chicago, and the Australian National Gallery in Canberra
Jack Goldstein and the CalArts Mafia is the compelling story of artist Jack Goldstein and some of his classmates at CalArts, who in the early 1970s went to New York and led the transition from conceptualism to Pictures art, utilizing images from television and movies with which they had grown up. At the same time, they discovered an artworld increasingly consumed by the desire for fame, fortune and the perks of success. The book is anchored by Jack's narratives of the early days of CalArts and the last days of Chouinard; the New York art world of the 70s and 80s; the trials and tribulations of finding and maintaining success; his inter-personal relationships; and his disappearance from the art scene. Goldsteins's own recollections are complemented by the first person narratives of his friends, including John Baldessari, Troy Brauntuch, Rosetta Brooks, Jean Fisher, Robert Longo, Matt Mullican and James Welling. There are provocative portraits of many well known artworld personalities of the 80s, including Mary Boone, David Salle, and Helene Winer, all working in a time when "the competitive spirit was strong and often brutal, caring little about anything but oneself and making lots of money.": "a biting, controversial, contradictory, hilarious, and riveting read ...," Mariah Corrigan, caa.reviews:: "a first-rate contribution to the history of contemporary art," David Carrier, artUS
The debate is as old as the American Republic and as current as this morning's headlines. Should a president employ the powers of the federal government to advance our national development and increase the influence and power of the United States around the world? Under what circumstances? What sort of balance should the president achieve between competing visions and values on the path to change? Over the course of American history, why have some presidents succeeded brilliantly in applying their power and influence while others have failed miserably? In Lincoln's Way, historian Richard Striner tells the story of America's rise to global power and the presidential leaders who envisioned it and made it happen. From Abraham Lincoln to Theodore Roosevelt within the Republican Party, the legacy was passed along to FDR—the Democratic Roosevelt—who bequeathed it to Harry S. Truman, Dwight D. Eisenhower, and John F. Kennedy. Six presidents—three from each party—helped America fulfill its great potential. Their leadership spanned the huge gulf that exists between our ideological cultures: they drew from both conservative and liberal ideas, thus consolidating powerful centrist governance. No creed of mere "government for government's sake," their program was judicious: it used government for national necessities. But it also brought inspiring results, thus refuting the age-old American ultra-libertarian notion that "the government that governs best, governs least." In a forceful narrative blending intellectual history and presidential biography, Striner presents the legacy in full. An important challenge to conventional wisdom, Lincoln's Way offers both an intriguing way of looking at the past and a much-needed lens through which to view the present. As a result, the book could change the way we think about the future.
A "palace" ruled by a "queen," Harbor Hill in Roslyn, Long Island, was commissioned by the beautiful and imperious Katherine Duer Mackay, wife of one of the country's wealthiest men. The mansion along with its magnificent furnishings, art, gardens, and the owners' striving, hubris, and ultimate failure are the dramatis personae of this saga. Stanford White, the architect, wrote, "with the exception of Biltmore, I do not think there will be an estate equal to it in the country." An extravagant product of the desire for social acceptance, the portrait encompasses western mining and old versus new wealth, religious differences and the building of a church, art collecting, and the many people, from the architects, builders, and workers to the servants and staff who ran the house and gardens. Harbor Hill's story includes elements of farce and tragedy; in a sense it is an American portrait.
The Mount, Edith Wharton’s country place in the Berkshires, is truly an autobiographical house. There Wharton wrote some of her best-known and successful novels, including Ethan Frome and House of Mirth. The house itself, completed in 1902, embodies principles set forth in Wharton's famous book The Decoration of Houses, and the surrounding landscape displays her deep knowledge of Italian gardens. Wandering the grounds of this historic home, one can see the influence of Wharton’s inimitable spirit in its architecture and design, just as one can sense the Mount’s impact on the extraordinary life of Edith Wharton herself. The Mount sits in the rolling landscape of the Berkshire Hills, with views overlooking Laurel Lake and all the way out to the mountains. At the turn of the century, Lenox and Stockbridge were thriving summer resort communities, home to Vanderbilts, Sloanes, and other prominent families of the Gilded Age. At once a leader and a recorder of this glamorous society, Edith Wharton stands at the pinnacle of turn of the twentieth-century American literature and social history. The Mount was crucial to her success, and the story of her life there is filled with gatherings of literary figures and artists. Edith Wharton at Home presents Wharton’s life at The Mount in vivid detail with authoritative text by Richard Guy Wilson and archival images, as well as new color photography of the restoration of The Mount and its spectacular gardens. "The Mount was to give me country cares and joys, long happy rides and drives through the wooded lanes of that loveliest region, the companionship of dear friends, and the freedom from trivial obligations, which was necessary if I was to go on with my writing. The Mount was my first real home . . . its blessed influence still lives in me." —Edith Wharton, 1934
Shortlisted for the 2015 Thwaites Wainwright prize for nature writing Richard Askwith wanted more. Not convinced running had to be all about pounding pavements, buying fancy kit and racking up extreme challenges, he looked for ways to liberate himself. His solution: running through muddy fields and up rocky fells, running with his dog at dawn, running because he's being (voluntarily) chased by a pack of bloodhounds, running to get hopelessly, enjoyably lost, running fast for the sheer thrill of it. Running as nature intended. Part diary of a year running through the Northamptonshire countryside, part exploration of why we love to run without limits, Running Free is an eloquent and inspiring account of running in a forgotten, rural way, observing wildlife and celebrating the joys of nature. An opponent of the commercialisation of running, Askwith offers a welcome alternative, with practical tips (learned the hard way) on how to both start and keep running naturally – from thawing frozen toes to avoiding a stampede when crossing a field of cows. Running Free is about getting back to the basics of why we love to run.
What would Christianity be like without the soul? While most people would expect the Christian bible to reveal a highly traditional opposition of matter and spirit, the spirit forces of the Old and New Testaments are often surprisingly physical, dynamic, and practical, a matter of energy as much as ethics. The Secret History of the Soul examines the forgotten or suppressed models of body, soul, and human consciousness found in the literature, philosophy and scripture of the ancient and classical worlds. It shows how the spirit forces of Homer, Plato, Aristotle, and the Old and New Testaments tended to be quantities not entities, and to be closely bound up with the dynamic physical flux of the human body, rather than cleanly abstracted in some absolute immaterial realm. Forces such as menos and thymos, nephesh, pneuma and dynamis not only blurred the line between body and soul, but were potent and transferable, being used, in New Testament culture, to effect magical cures or bestow magical power. Related to this surprising lack of body-soul dualism is a lack of dualistic afterlife in either Homer or Hebrew scripture, where Hades and Sheol are the sole post-mortem destinations. The Secret History of the Soul restores the living strangeness of a spirit world filled with potent energy and practical magic, in cultures which had not yet glimpsed the abstracted soul of later Christianity.
Portraits. We know what they are, but why do we make them? Americans have been celebrating themselves in portraits since the arrival of the first itinerant portrait painters to the colonies. They created images to commemorate loved ones, glorify the famous, establish our national myths, and honor our shared heroes. Whether painting in oil, carving in stone, casting in bronze, capturing on film, or calculating in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. In this sumptuously illustrated book, Richard H. Saunders explores our collective understanding of portraiture, its history in America, how it shapes our individual and national identity, and why we make portraits - whether for propaganda and public influence or for personal and private appreciation. American Faces is a rich and fascinating view of ourselves.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.