Cover image for Adirondack prints and printmakers : the call of the wild
Title:
Adirondack prints and printmakers : the call of the wild
Author:
Welsh, Caroline Mastin.
Publication Information:
Syracuse, N.Y. : The Adirondack Museum/Syracuse University Press, [1998]

©1998
Physical Description:
xxv, 212 pages : illustrations, maps ; 24 cm
General Note:
Collected papers from the twenty-third North American Print Conference, Adirondack Museum, Blue Mountain Lake, N.Y., Aug., 1995.
Language:
English
Contents:
When men and mountains meet: mapping the Adirondacks / Two great illustrated books about the Hudson River: William Guy Wall's Hudson River port folio and Jacques Gerard Milbert's Itinéraire pittoresque du fleuve Hudson / Illustrations of the Adirondacks in the popular press / Adirondack chromolithographs of Robert D. Wilkie / "Nature's Forest Volume": the Aldine, the Adirondacks, and the Sylvan landscape / Hermit of Phantom Island: John Henry Hill's etchings of Lake George / Winslow Homer's Adirondack prints / "A passion for fishing and tramping": the Adirondacks etched by Arpad G. Gerster, M.D. / Responding to nature: David Milne's Adirondack prints
ISBN:
9780815605195
Format :
Book

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Library
Call Number
Material Type
Home Location
Status
Central Library NE954.2 .A34 1998 Adult Non-Fiction Central Closed Stacks
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Summary

Summary

This volume presents essays which explore the influence of the Adirondack region on artists and printmakers. Including essays originally presented at the 1995 North American Print Conference, the text embodies the artistic spectrum from the documentary to the aesthetic.


Reviews 1

Choice Review

The 1990s have seen a number of excellent publications on Adirondack art, among them Georgia Brady Barnhill's Wild Impressions: The Adirondacks on Paper (1995); Patricia Mandel's Fair Wilderness: American Paintings in the Collection of the Adirondack Museum (1990); and David Tatham's Winslow Homer in the Adirondacks (CH, Jan'97). One might think that there would be nothing left to say on the subject, but this book explores aspects of Adirondack art that have never been studied before, and it does much to connect that art with what was happening in the rest of American culture throughout the last 200 years. The papers reprinted here were first given at the 23rd North American Print Conference, held at the Adirondack Museum in 1995, but they still represent the freshest views on the contribution of the Adirondacks to our cultural history. Two essays that stand out, apart from Welsh's introduction, are Georgia Barnhill's "Illustrations of the Adirondacks in the Popular Press" and Janice Simon's "Nature's Forest Volume': The Aldine, the Adirondacks, and the Sylvan Landscape." Numerous illustrations; good bibliography. Highly recommended. General readers; undergraduates through professionals. M. W. Sullivan; Villanova University


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