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326. FREDERICK CLAY BARLETT (1873-1953). Blue Rafters, 1919.  Oil on canvas, 28 x 30 1/2 in. The Art Institute of Chicago; Friends of American Art Collection.
100. CHILDE HASSAM. Grand Prix Day, 1887.  Oil on canvas, 24 x 31 in. Museum of Fine Arts, Boston; Ernest Wadsworth Longfellow Fund.
257. FRANK BENSON SUnlight,  Oil on Canvas, 32 1/4 x 20 in.  Indianapolis Museum of Art; John Herron Fund.
379. MAURICE PRENDERGAST. The Mall, Central Park, 1901.  Watercolor on paper, 15 1/4 x 22 1/2 in.  The Art Institute of Chicago; Olivia Shaler Swan Memorial Collection.
321. LAWRENCE MAZZANOVICH (c. 1872-1959). New Hampshire, Opus I, c. 1910.  Oil on canvas, 30 x 30 in.  Glensheen, University of Minnesota, Duluth.
American Impressionism (Second Edition)
By William H. Gerdts

Size: 11 x 13", 
Cloth, 368 pages
425 illustrations, 220 in full color
Published 2004
ISBN: 978-0-7892-0737-1
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An expanded and revised edition of this elegant and definitive volume, which helped establish the ever-growing passion for American Impressionism.

"The best book ever written on the subject." -- Artforum

"Carefully researched and meticulously documented.... Gerdts book should form the nucleus for any librarys collection on American Impressionism." -- Library Journal

"In this magisterial presentation Gerdts examines and celebrates the art of American painters.... Highly recommended." -- Choice, selected as an Outstanding Academic Book of the Yea

With brilliant scholarship and a wealth of stunning illustrations, American Impressionism provides a vivid summary of the entire art movement, starting with its roots in earlier American art and its relationship to French Impressionsim. The first edition was quickly recognized as the most authoritative and penetrating account of the movement, which has continued to grow in poularity since the books debut. For this new edition, which features 25 additional illustrations, Professor Gerdts has added a fascinating new chapter on Impressionist themes. The volume also includes a thoroughly updated bibliography.

American Impressionism tells how the movement progressed rom an avant-garde aesthetic assaulted by critics up to its years of triumph and how the movement developed in diverse ways throughou the country including regional Impressionism in the South, Midwest, and West. All of the master works are here, from Childe Hassams sun-drenched gardens to John Twachtmans snow-silenced landscapes, from Edmund Tarbells coolly elegant ladies in dim, luxurious interiors to Frederick Friesekes sun-dappled nudes.

William H. Gerdts is professor emeritus of art history at the Graduate Center, City University of New York.

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