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Condition: Used: Very Good
Comment: Used: Very Good/Very Good; Near fine, in a very good unclipped jacket. Slightly faded at upper board edges with minor toning to edges of leaves. Jacket has light shelf wear. Get the product you want, in the condition you expect. No ex-library items. No markings, unless indicated. We shrink wrap most items and ship in new corrugated boxes.
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William Glackens Hardcover – May 1, 1996

5.0 out of 5 stars 1 customer review

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Editorial Reviews

From Publishers Weekly

Glackens (1870-1938) was a leading American impressionist, a great realist figurative painter and a witty chronicler of urban life; all these aspects of his work are on full display in this vibrantly illustrated study. It catalogues the amazing Glackens Collection of the Fort Lauderdale Museum of Art, to which Ira Glackens, the artist's son, bequeathed more than 400 of his father's artworks in 1990. The Philadelphia-born painter's mainstream impressionist pictures, made under the influence of Renoir beginning around 1910, look sensuous yet stilted. Much more convincing are his gritty Paris street scenes (1895-1896) and the poetic, magical renditions of ephemeral urban and suburban pleasures made in and around New York City. In his engaging essay, City University of New York art history professor Gerdts, an authority on American impressionism, shows how Glackens's embrace of the incisive Ashcan school realism of The Eight, a group that also included John Sloan and Maurice Prendergast, flowed from his experience as a freelance illustrator and artist-reporter. Santis, the museum's curator, provides selective commentary on individual works.
Copyright 1996 Reed Business Information, Inc.

From Library Journal

Glackens, perhaps the most sublime of the artists collected under the rubrics "The Eight" or the "Ashcan School," worked in an idiom that echoed the work of Manet and Renoir. Though his work is less well known than that of his friend, John Sloan, it lies at the heart of American Impressionism. Gerdts, one of the foremost historians in the field of American art (Art Across America, LJ 12/90), has written extensively on Impressionism in the past (American Impressionism, 1980). His critical biographical essay on Glackens is informative and provides a good basic background for the artist's work. The heart of this particular volume, however, is the catalog (and complementary essay) by Jorge H. Santis of the nearly 500 works that form the Glackens Collection of the Museum of Art, Fort Lauderdale, Florida, the most comprehensive collection of the artist's work. Extensively illustrated, this work is highly recommended for larger collections of American art.?Martin R. Kalfatovic, Smithsonian Inst. Libs., Arlington, Va.
Copyright 1996 Reed Business Information, Inc.

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Product Details

  • Hardcover: 279 pages
  • Publisher: Abbeville Press; 1st edition (May 1, 1996)
  • Language: English
  • ISBN-10: 1558598685
  • ISBN-13: 978-1558598683
  • Product Dimensions: 10.3 x 1.2 x 12.4 inches
  • Shipping Weight: 4.4 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #2,000,081 in Books (See Top 100 in Books)

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A true delight. To kick off the display of a treasure chest of materials on the work of William Glackens presented to the Museum of Art, Fort Lauderdale, Florida, by Ira Glackens, the artist's son, this most entertaining volume was published in 1996. While I have the original hard-bound edition, which is available used, there is also a paperbound version . Used and paperbound editions are available at more accessible prices than are the still-in-print new hardbound copies. The main body of the work is comprised of an extended essay, pretty much a book in itself, by the noted art-historian and expert on American Impressionism, William Gerdts; the remainder is led off by a nice essay by Jorge H. Santis, followed by a substantial catalogue of the collection given the Museum by Ira Glackens, illustrated in black and white. This latter is of considerable value to the scholar seeking acquaintanceship with many aspects of the oeuvre of this major early 20 Century American artist.
For the general reader interested in the life and work of a distinguished American artist, Professor Gerdts has done the subject, the museum, and the donor proud. He is thoroughgoing yet never dry. Since the subject appeared to have been a devoted husband and father, never in financial difficulty after becoming established, not one to go to extremes in his personal or professional behavior, his biography doesn't lend itself to the high drama of a Pollock or Warhol. Yet there not a dull page is to be found; in clear, understandable, non-technical language, Gerdts tells us of the man and what we will find in his work. He recognizes the sources of influence but is also clear about the originality with which he uses the artistic heritage.
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