Published on the occasion of the exhibition "Meant to Be Shared: Selections from the Arthur Ross Collection of European Prints at the Yale University Art Gallery" held at the Yale University Art Gallery, New Haven, Connecticut, December 18, 2015-April 24, 2016, the Samuel P. Harn Museum of Art, University of Florida, Gainesville, January 29-May 8, 2017 and at the Syracuse University Art Galleries, New York, August 17-November 19, 2017.

This volume goes well beyond the scope of the typical exhibition catalogue and becomes, in the end, the first great study of La Farge's late South Seas works, and one of the first comprehensive overviews of the activities of Western artists in the South Seas in the late 19th century. The catalogue's (and exhibition's) title refers to La Farge's first great artistic inspiration (1850s-60s) being the area around Paradise Beach in Newport, RI, and his second inspiration (1890s) being a trip to the South Seas. A number of important scholars have contributed essays to this volume. Among them are the longtime La Farge scholar Henry Adams, who contributes an essay titled "John La Farge's South Seas Sketchbooks: Their Nature and Their Significance" (along with an inventory of the South Seas sketchbooks); and Elizabeth Childs, who contributes an essay comparing the activities of Paul Gauguin and John La Farge during their respective sojourns in Tahiti (it turns out that Gauguin arrived in Tahiti only a week or so after La Farge left it for Fiji). This is an attractively produced volume in square quarto format, with 160 color illustrations and many more in black and white. Summing Up: Highly recommended. Lower-level undergraduates and above; general readers. General Readers; Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students; Researchers/Faculty; Professionals/Practitioners. Reviewed by M. W. Sullivan.

This exhibition further sparks conversations prompted by the national dialogue surrounding the 2018 opening of the Equal Justice Initiative's Legacy Museum and National Memorial for Peace and Justice, in Montgomery, Alabama, that memorialize over four thousand African Americans from twelve Southern states who were lynched between 1877 and 1950.--Colophon.

Invented in 1912 during the collaborative investigations of Georges Braque and Pable Picasso, synthetic cubism combined actual objects with traditional fine art materials on a 2 dimensional surface.

"The first major collaborative exhibition between the Yale University Art Gallery and the Yale Center for British Art, The Critique of Reason offers an unprecedented opportunity to display together treasured works from both museums' collections. The show comprises paintings, sculptures, medals, watercolors, drawings, prints, and photographs by such iconic artists as William Blake, Théodore Géricault, Francisco de Goya, and Joseph Mallord William Turner. The broad range of work selected challenges the traditional notion of the Romantic artist as a brooding genius given to introversion and fantasy. Instead, the exhibition's eight thematic sections juxtapose arresting works that reveal the Romantics as attentive explorers of their natural and cultural worlds. The Critique of Reason celebrates the richness and range of Yale's Romantic holdings, presenting them afresh for a new generation of museumgoers"--Yale University Art Gallery Web site.

Over his thirty years as a master printer, Craig Zammiello has established himself as a foremost specialist of intaglio printmaking in the United States. Through lively discussions between Zammiello, Elisabeth Hodermarsky, and ten contemporary artists--Mel Bochner, Carroll Dunham, Ellen Gallagher, Jane Hammond, Suzanne McClelland, Chris Ofili, Elizabeth Peyton, Matthew Ritchie, Kiki Smith, and Terry Winters--Conversations from the Print Studio offers an intimate look at the relationship between printer and artist, as well as insight into the technical challenges of intaglio printmaking. The conversations follow ten unique projects from inception to completion, tracing each artist's initial vision, the artist's and printer's creative strategies, and reactions to the final product. By documenting the dual perspectives of artist and printer, the book reveals recent innovations in the field of printmaking as well as the collaborative nature of art-making itself. The result is a rare behind-the-scenes excursion into the workings of the contemporary print studio. Distributed for the Yale University Art Gallery