In the decades bracketing the turn of the twentieth century, Charles M. Russell depicted the American West in a fresh, personal, and deeply moving way. This handsome book--a companion volume to the acclaimed Charles M. Russell: A Catalogue Raisonné, edited by B. Byron Price--showcases many of the artist's best-known works and chronicles the sources and evolution of his style.

Well known for his sketches, paintings, and sculptures of the Old West, Charles M. Russell (1864-1926) was also an accomplished author in the humorous genre known as "local color." Raphael Cristy sorts Russell's writings into four general categories: serious Indian stories, men encountering wildlife, cattle range characters, and nineteenth-century westerners facing twentieth-century challenges. Russell's art is often misinterpreted as mere longing for a fading open-range west, but his writings tell a different story. Cristy shows how Russell amused his peers with stories that also delivered sharp observations of Euro-American suppression of Indians and humorous treatment of wilderness and range issues plus the emergence of women and urbanization as bewildering agents of change in the modern West. "A welcome departure from the usual biographies and coffee table volumes on Russell and his art. . . . [Cristy] deals with an important, yet relatively unexplored, aspect of the career of one of the most influential interpreters of the American West."--Byron Price, Director, C. M. Russell Center for the Study of Art

"'The American West in Bronze, 1850-1925' is the first full-scale exhibition to explore the aesthetic and cultural impulses behind the creation of statuettes with American western themes, which have been so popular with audiences then and now. Both the exhibition and this accompanying catalogue offer a fresh look at the multifaceted roles played by these sculptors in creating three-dimensional interpretations of western life, whether based on historical fact, mythologized fiction, or most often, something in-between. Examples by such archetypal representatives of the West as Frederic Remington and Charles M. Russell are complemented by the work of sculptors such as James Earle Fraser and Paul Manship, who contributed to the popularity of the American bronze statuette even though their western subjects were less frequent." -- Publisher's description.

From reviews of the first edition: "Richly illustrated . . . this handsome volume presents the rugged beauty and rowdy spirit of life on the frontier, as captured by two master painters." —Art Gallery International ". . . large color plates beautifully reproduce dashing, romantic scenes of frontier life created by two of the West's foremost portrayers." —American West "The many devotees of Remington and Russell and of Western art in general will want to add this handsome volume to their collection." —Arizona Highways "... the University of Texas Press, as one would expect, has produced a beautiful book ...." —Montana Since its original publication in 1982, Remington and Russell has become an essential introduction to the work of these artists, and this revision substantially enhances the book's strengths. Every painting in the Sid Richardson Collection has been rephotographed for this edition, including one Russell and five Remington paintings not included previously. Numerous black-and-white illustrations have also been added to give insight into the evolution of the paintings. Brian Dippie has considerably amplified his commentaries on each painting with new information. His revised introduction places Remington and Russell in the historical and cultural contexts of their time and draws intriguing comparisons between the two artists.

"As young men, Remington and Russell struck out for the West, seeking adventure and self-identity. Remington stayed for only one year, Russell for the rest of his life. But both eventually became artists, and both took as their subject the disappearing West and its people. Different in temperament and style, they became the focal point of a manufactured rivalry that dominated the American art scene at the turn of the twentieth century and in essence pitted East against West. Camps of followers developed, and duels were waged on their behalf in the press, although neither Remington nor Russell directly engaged in the rivalry.".

Leading architect E.J. Lennox designed Casa Loma for the flamboyant Sir Henry Pellatt and Mary, Lady Pellatt as an enormous castellated mansion that overlooked the booming metropolis of Toronto. The first scholarly book dedicated to this Canadian landmark, Casa Loma situates the famous “house on the hill” within Toronto’s architectural, urban, and cultural history. Casa Loma was not only an outsized home for the self-appointed “Lord Toronto” but a statement of Canada’s association with empire, an assertion of the country’s British legacy. During and after the Pellatts’ occupation, Casa Loma was a major landmark, and it has since infiltrated the iconography and collective memory of the metropolis. The reception of Casa Loma, variously loved and abhorred by Torontonians, reflects many of Toronto’s major aspirations and anxieties about itself as a modern city. Across ten chapters, this book charts the history of Casa Loma from the purchase of the estate atop Davenport Ridge in 1903 and its construction from 1906, through to its sale and the dispersal of its contents in 1924, its subsequent life as a hotel, and finally its transformation into one of the city’s major entertainment venues. Casa Loma brings to light a wealth of hitherto unpublished archival images and documentation of the house’s visual and material culture, weaving together a textured account of the design, use, and life of this unique building over the course of the twentieth century.

The nation's premier private collection of Rookwood art pottery featuring American Indian portraiture is on display at the Cincinnati Art Museum from October 2007 to January 2008. Rookwood and the American Indian: Masterpieces of American Art Pottery from the James J. Gardner Collection is a remarkable exhibition catalogue that will be of interest well beyond the exhibition because of its unique subject matter. Fifty-two pieces produced by the Rookwood Pottery Company are showcased, many accompanied by black-and-white photographs of the American Indians portrayed by the ceramic artist. In addition, the catalogue includes a brief biography of each artist as well as curators' comments about the Rookwood pottery and the Indian apparel seen in the portraits. The catalogue also presents two essays. The first, "Enduring Encounters: Cincinnatians and American Indians to 1900," by ethnologist and co-curator Susan Labry Meyn, describes American Indian activities in Cincinnati from the time of the first settlers to 1900 and relates these events to national policy, such as the 1830 Indian Removal Act. Rookwood and the American Indian, by art historian Anita J. Ellis, concentrates on Rookwood's fascination with the American Indian and the economic implications of producing that line. Rookwood and the American Indian blends anthropology with art history to reveal the relationships between the white settlers and the Native Americans in general, between Cincinnati and the American Indian in particular, and ultimately between Rookwood artists and their Indian friends.

"Amon G. Carter (1879-1955) is one of the legendary men of Texas history. Born in a log cabin, he was self-made, becoming Fort Worth's leading citizen and champion. He developed an interest in the art of Frederic Remington and Charles M. Russell through his friendship with Will Rogers. Carter's will provided for the establishment of a museum in Fort Worth devoted to the art of the American West. While the museum holds the most significant collection anywhere of works by Remington and Russell and is a pioneer in the field of western studies, it has evolved into one of the great museums of American art as a whole, focusing on artists working on successive frontiers, aesthetic as well as geographic. Its photography collection alone has grown to nearly one-quarter of a million objects." "The museum, designed by noted architect Philip Johnson, opened to the public in 1961. On the occasion of its fortieth anniversary, a substantially expanded building, also designed by Mr. Johnson, was inaugurated. This volume relates the museum's history and presents color and duotone illustrations of 125 of its masterworks dating from 1822 to 1998 (paintings, sculpture, prints, watercolors, pastels, drawings, and photographs), with an essay about each and a biography of each artist. It includes a number of landmark works recently added to the collection and unveiled here for the first time: paintings by John Singer Sargent, Stuart Davis, and Marsden Hartley; sculpture by Alexander Calder and Louise Nevelson; a daguerreotype by Southworth and Hawes; and photographs by Alfred Stieglitz, David Smith, Robert Adams, and Linda Connor."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved