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S'està carregant… Julian Onderdonk: American Impressionist (Dallas Museum of Art Publications)de William Rudolph
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This lavishly illustrated catalogue offers a critical look at Impressionist Julian Onderdonk (1882-1922), one of Texas's finest landscape painters and a pupil of William Merritt Chase. Onderdonk transformed the Texas landscape, creating indelible images of his native state. One of Chase’s most dazzling students at the Shinnecock Summer School in Long Island, he brought Chase’s aesthetic of nature to an entirely new part of the American landscape. By his death at age 40, Onderdonk had been christened "The Bluebonnet Painter” in recognition of his lush signature landscapes featuring fields of the state flower. The essays examine the relationship between Chase and Onderdonk and how that dialogue transformed the way the latter viewed Texas. They also address Onderdonk’s relationship to the Western American tradition of landscape painting. Readers and viewers interested in American landscape, American Impressionism, and Southwestern art will enjoy both the critical essays and the beautiful illustrations--many never before seen. No s'han trobat descripcions de biblioteca. |
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Google Books — S'està carregant… GèneresClassificació Decimal de Dewey (DDC)759.13The arts Painting History, geographic treatment, biography United States and Canada United StatesLCC (Clas. Bibl. Congrés EUA)ValoracióMitjana:
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Following the catalogue, which occupies the major portion of the book, is a very interesting chronology which traces in parallel Texas and the Wilder World, The Life of William Merritt Chase and The Lives of Robert and Julian Onderdonk. The book includes an exhibition checklist, a bibliography and an index; the two essays are supported by ample notes.
The book is well illustrated in full colour throughout; there are 93 plates in the catalogue section which includes one or two examples by Chase and Robert Onderdonk. In addition there are numerous pictures illustrating the essays of work by Julian, Chase and others, again all in full colour with the obvious exceptions of period black and white photographs.
This is a fine yet relatively modest (in size) publication. I was pleased to see one or two examples of a detail from paintings. However I do have one quibble and that is with the size of the reproduction of many of the paintings illustrated. Much of Julian's work is quite small, in fact small enough that the reproductions could have been reproduced life size, and yet I could not find one example so presented. ( )