Description
Thought processThought processTweed Museum of Art, University of Minnesota, Duluth, Published 1977. Wraps, 44 pp.; 28 cm; side-stapled; illustrated with black-and-white reproductions throughout.
Rare, out-of-print & unusual books · Since 1997
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Catalog notes
Condition & notes
In Acceptable condition. Cream-colored illustrated paper covers featuring Thomas Moran's "A Summer Squall" (1889) on the front and Jean-Baptiste Camille Corot's "Misty Morning" on the back. Light bumping and creasing to cover edges and corners; mild to moderate shelf wear overall; some toning along the edges. Sticker residue in the top right corner of the front cover. Printed wrapper, originally glued around the spine of the side-stapled text block, has separated and is now laid in, though the side-stapled block itself remains tight and complete. Previous owner's ink signature at the top of the title page. Pages mildly toned throughout but otherwise unmarked. Exhibition catalog for the dedicatory show held October 16 through November 20, 1977 at the Tweed Museum of Art, University of Minnesota Duluth, commemorating the opening of the museum's second major addition (financed by the Alice Tweed Tuohy Foundation). The exhibition juxtaposed nineteenth-century American and French treatments of the rural landscape, with loans from the Minneapolis Institute of Arts, the Paine Art Center and Arboretum, the Walker Art Center, the Hibbing Public Library, and private collections. American painters represented include Thomas Moran (whose "A Summer Squall" appears on the front cover), Albert Bierstadt, Winslow Homer, George Inness, James and William Hart, David Johnson, Alexander Wyant, William Haseltine, and Patrick Vincent Berry; French artists include Corot (whose "Misty Morning" appears on the back cover), Charles Francois Daubigny, Charles-Emile Jacque, Pierre Etienne Theodore Rousseau, Constant Troyon, Henri-Joseph Harpignies, and Felix Ziem. The essay by J. Gray Sweeney, Ph.D. traces the iconographic and stylistic relationships between Barbizon-tradition rural painting in France and the American agricultural landscape genre of the same period, situating both in the nineteenth century's broader move from wilderness sublimity toward an Edenic agrarian ideal. Contents: An Addition to the Tweed Museum of Art (William G. Boyce); Acknowledgments; The Agrarian Landscape In American and French Painting (essay by J. Gray Sweeney); Additional American Paintings In the Exhibition; Selected Bibliography (Bermingham, Cikovski, Corn, Huntington, McCoubrey, Novak, Sloane, Stein); Exhibition List.