In the tradition of recent explorations of landscape paintings distinguished by place, this lavishly illustrated book investigates why paintings of the "Queen of American lakes," as it was known in the nineteenth century, became popular: what characteristics separated them from other landscape views, who bought them, and how they were understood by the public. The compendium of accompanying information presents the range of the documented paintings, even paintings lost or destroyed, surviving only in records of their titles and artists. It serves to enhance our understanding of the range of artists and interpretations of the lake.
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Gwendolyn Owens writes on American art and architecture. Her publications include Maurice and Charles Prendergast: A Catalogue Raisonné (Prestel, 1989) of which she is a co-author, Golden Day, Silver Night: Perceptions of Nature in American Art 1850-1910 and Nature Transcribed: The Landscapes and Still Lifes of David Johnson along with essays and exhibition catalogues on the establishment of a market for American art at the start of the twentieth century, and the intersection of art and architectural theory. Former curator of the Herbert F. Johnson Museum of Art, Cornell University, and former director of The Art Gallery, University of Maryland, College Park, she has been associated with the Canadian Centre for Architecture, Montreal since 1991. She is currently co-editing Gordon Matta-Clark: A Sourcebook (University of California Press, 2006).
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