- This title is eligible for Amazon Fall Textbook promotions. Get unlimited free Two-Day Shipping for three months with a free trial of Amazon Prime. Add $100 worth of eligible textbooks to your cart to qualify. Sign up at checkout. New members only. Here's how (restrictions apply)
- Save $5 when you spend $25 and pay with Bill Me LaterŪ. Offer valid Sept 1, 2008 - Sept 30, 2008. Offer limited to items sold by Amazon.com. Subject to credit approval. One per customer. Enter code BMLSAVES at checkout. Here's how (restrictions apply)
Join Amazon Prime and ship Two-Day for free and Overnight for $3.99. Already a member? Sign in.
|
|||||||||
Special Offers and Product Promotions
Editorial Reviews
From Booklist
It has been 150 years since James Marshall discovered gold in California and inadvertently set off the now-infamous gold rush. Tales of stubborn prospectors and boisterous boomtown life have crystallized into myth, but the art of that era, drawings and paintings by both self-taught and trained artists lured to the scene either for gold or the chance to sell their work, is little known. The exhibition this fine volume documents was mounted to correct this omission in U.S. art history, and Driesbach and her contributors do a superb job of combining gold-rush lore with discussions of the energetic landscapes and portraits that so avidly chronicle it. Most of the artists discussed will be new to readers, although the polished portraits of San Francisco's elite by William Smith Jewett may ring a bell. More in keeping with the spirit of the quest for gold are the realistic paintings of rural mining camps by George Henry Burgess and A. D. O. Browere, which capture the beauty and promise of the California landscape. Donna Seaman
From Kirkus Reviews
paper 0-520-21432-3 A tad predictably, this survey of works on paper that emerged from California at around the time of the gold rush (1848) abounds in picturesque views of duly mountainous landscapes. There are also plenty of harborside San Francisco scenes to surprise the eye with the proximity of a very few sailing vesselsand even fewer skippers. Likewise, William Birch McMurtrie's vision of Telegraph Hill, circa 1849: The modesty of his sparse, low-lying dwellings is outdone only by the unbuilt bare vista extending alongside them. As with many 19th-century California scenes, his seems steeped in a pale golden aura, perhaps the greedy projection of a visiting artist who was hoping to mine a certain vein. Driesbach (curator at the Crocker Art Museum), Jones (curator at the Oakland Museum), and Holland (a former curator at the California Historical Society) give historical and biographical information, and observe some of the European influences that generally guided the painters; other influences can be inferred without them. For instance, A.D.O. Browere's Miners of Placerville owes something to Breughel in the scale, hue, and figurative compression of these he-men dwarfed by trees and hefting ropes and axes. But the impact of the book as a whole is held back by the small size of its color reproductions, which assigns to the hugeness of California a mincing, unconvincing Victorianism. -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.
See all Editorial Reviews
It has been 150 years since James Marshall discovered gold in California and inadvertently set off the now-infamous gold rush. Tales of stubborn prospectors and boisterous boomtown life have crystallized into myth, but the art of that era, drawings and paintings by both self-taught and trained artists lured to the scene either for gold or the chance to sell their work, is little known. The exhibition this fine volume documents was mounted to correct this omission in U.S. art history, and Driesbach and her contributors do a superb job of combining gold-rush lore with discussions of the energetic landscapes and portraits that so avidly chronicle it. Most of the artists discussed will be new to readers, although the polished portraits of San Francisco's elite by William Smith Jewett may ring a bell. More in keeping with the spirit of the quest for gold are the realistic paintings of rural mining camps by George Henry Burgess and A. D. O. Browere, which capture the beauty and promise of the California landscape. Donna Seaman
From Kirkus Reviews
paper 0-520-21432-3 A tad predictably, this survey of works on paper that emerged from California at around the time of the gold rush (1848) abounds in picturesque views of duly mountainous landscapes. There are also plenty of harborside San Francisco scenes to surprise the eye with the proximity of a very few sailing vesselsand even fewer skippers. Likewise, William Birch McMurtrie's vision of Telegraph Hill, circa 1849: The modesty of his sparse, low-lying dwellings is outdone only by the unbuilt bare vista extending alongside them. As with many 19th-century California scenes, his seems steeped in a pale golden aura, perhaps the greedy projection of a visiting artist who was hoping to mine a certain vein. Driesbach (curator at the Crocker Art Museum), Jones (curator at the Oakland Museum), and Holland (a former curator at the California Historical Society) give historical and biographical information, and observe some of the European influences that generally guided the painters; other influences can be inferred without them. For instance, A.D.O. Browere's Miners of Placerville owes something to Breughel in the scale, hue, and figurative compression of these he-men dwarfed by trees and hefting ropes and axes. But the impact of the book as a whole is held back by the small size of its color reproductions, which assigns to the hugeness of California a mincing, unconvincing Victorianism. -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.
See all Editorial Reviews
Product Details
|