This illustrated catalog of Thomas Moran’s field sketches includes an interpretive essay tracing the artist’s seventy-year career in the field; a chronological, stylistic, and geographical survey of his fieldwork; an illustrated checklist of the 1080 sketches in public collections. Moran is best known for his work in the American West during the post-Civil War expansion, particularly in what would become Yellowstone, Grand Canyon, and Yosemite national parks. Yet this virtuoso painter and draftsman also traveled in search of inspiration in Pennsylvania, New York’s Long Island, Florida, Wisconsin, Mexico, England, Scotland, Wales, France, and Italy, returning repeatedly to favorite subjects. An almost compulsive desire to sketch refined his innate skill as one of America’s finest landscape artists. Most of Moran’s known field sketches are reproduced here. As described in the introduction, “their range encompasses summary contour drawings of the spectacular topography of the American West, luminous watercolors that simultaneously fix local color and evoke the artist’s rapturous response to the natural world, and fully realized works that nevertheless preserve the intensity of Moran’s firsthand experience of his plein air subjects.” No serious formal study of Thomas Moran can be made without reference to this volume.

Describes an exhibit at the National Gallery, the Gilcrease Museum, Tulsa, and the Seattle Art Museum

This extensively revised edition of Thurman Wilkins’s masterful and engaging biography - well illustrated in color and black-and-white - draws on new information and recent scholarship to place Thomas Moran more securely in the milieu of the Gilded Age. It also portrays more fully the controversies that surrounded the art of Moran’s time, as he became "the Dean of American Painters." The American West was the subject of Thomas Moran’s greatest artistic triumphs - Yosemite, the Grand Canyon of the Colorado, Zion Canyon, the Virgin River, Colorado’s Mountain of the Holy Cross, and the Grand Tetons - but his travels with Ferdinand V. Hayden’s geological surveys of the Upper Yellowstone were matched by trips to his native Britain and to Venice, Florida, the Spanish Southwest, and Old Mexico. These scenes inspired memorable landscapes and seascapes, as did the sojourns of the Moran family in Pennsylvania, New Jersey, and East Hampton, Long Island, when they retreated from the demands of the New York art scene. In the 1880s Moran and his artist wife, Mary Nimmo Moran, also threw themselves into the etching craze of the period, creating some of the finest prints produced in the United States. Moran was an artist happy in his work. He wrote, "I have always held that the grandest, most beautiful, or wonderful in nature, would, in capable hands, make the grandest, most beautiful, or wonderful pictures." The New York Times said of the first edition of this unique account of his life, "Moran’s mastery comes through clearly and awesomely and often, pleasurably." Readers will find the new edition equally enjoyable.