Art & Photography

Art & Photography UNIVERSITY OF OKLAHOMA PRESS 2016 Charles M. Russell Center Charles M.Series Rus on Art- sellon ArtCenter and Series Pho- tographyAmerican andof West Photography the of the American West On the Cover: Ernest Martin Hennings (1886–1956) Spanish Musicians, Taos (detail) oil on canvas,UNIVERSITY OF OKLAHOMA PRESS ART & PHOTOGRAPHY 36.252 x 40 inches CHARLES M. RUSSELL CENTER SERIES ON Art AND PhotoGRAPHY OF THE American West Stark Museum of Art, Orange, Texas, 31.32.15 professionals alike. All are illustrated, , the University of in 2006 some heavily, and are published with Oklahoma Press and the Charles M. production values of the highest Russell Center for the Study of Art Charles M. Russell Center quality. of the American West, part of the School of Art and Art History at the Founded in 1998, the Charles M. Series on Art University of Oklahoma, launched the Russell Center for the Study of Art of Charles M. Russell Center Series on the American West is the first such and Photography Art and Photography of the American university-based program in the nation. West. Books in the Russell Center The center, which opened to the series reflect the latest scholarship in public in the fall of 1999, is dedicated of the American West the field and include biographical, to the pursuit and dissemination of topical, and interpretive monographs. knowledge in the field of American Works in the series may accompany art history as it relates to the western museum exhibitions but are designed United States. Through its resource to exist independently of such shows. center, national symposia, course Series titles are intended to appeal to offerings, and related outreach general readers, scholars, and museum programs, the Russell Center actively engages students and the public in developing a better understanding S ERIE S E DITOR of, and appreciation given to the art B. Byron Price of nineteenth- and twentieth-century Euro-American and Native American artistic traditions. Special emphasis is given to art of Charles M. Russell and his contemporaries. The Russell Center was established concurrently with the Charles Marion Russell Chair, an endowed professorship in art history at the University of Oklahoma. Both the center and the endowed chair were made possible through a generous gift from the Nancy Russell Trust Series Editor B. Byron Price holds the and matching funds from the state of Charles Marion Russell Memorial Chair, is Oklahoma. Director of Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma, and is Director of OUPRESS.COM 3 800 627 7377 the University of Oklahoma Press. Narrating the Landscape Branding the American West Print Culture and American Expansion Paintings and Films, 1900–1950 in the Nineteenth Century Edited by Marian Wardle and Sarah E. Boehme By Matthew N. Johnston $39.95s CLOTH · 978-0-8061-5291-2 $34.95s CLOTH · 978-0-8061-5223-3 240 PAGES · 9 × 11 · 128 COLOR AND 27 B&W ILLUS. 256 PAGES · 8.5 × 11 · 20 COLOR, 72 B&W ILLUS. VOLUME 23 VOLUME 24 Artists and filmmakers in the early twentieth The American nineteenth century saw a largely century reshaped our vision of the American rural nation confined to the Eastern Seaboard West. In particular, the Taos Society of Artists conquer a continent and spawn increasingly and the California-based artist Maynard Dixon dense commercial metropolises. This time departed from the legendary depiction of the of unprecedented territorial and economic “Wild West” and fostered new images, or growth has long been thought to find its most brands, for western art. This volume, illustrated sweeping visual equivalent in the period’s with more than 150 images, examines select landscape paintings. But, as Matthew N. paintings and films to demonstrate how these Johnston shows, the age’s defining features artists both enhanced and contradicted earlier were just as clearly captured in, and motivated representations of the West. by, visual material mass-produced through Branding the American West is published in innovations in printing technology. Illustrated association with the Brigham Young University railroad and steamboat guidebooks, tourist Museum of Art, Provo, Utah, and the Stark literature, reports of geological surveys, Museum of Art, Orange, Texas. ethnographic studies: all of these new print vehicles brought new meanings to the interplay of time, space, and place as American continental expansion peaked. UNIVERSITY OF OKLAHOMA PRESS ART & PHOTOGRAPHY 4 CHARLES M. RUSSELL CENTER SERIES ON Art AND PhotoGRAPHY OF THE American West Frederic Remington A Place in the Sun A Catalogue Raisonné II The Southwest Paintings of Edited by Peter H. Hassrick Walter Ufer and E. Martin Hennings By Thomas Brent Smith $75.00s CLOTH · 978-0-8061-5208-0 328 PAGES · 10 × 12 · 248 COLOR AND 28 B&W ILLUS. $45.00s CLOTH · 978-0-8061-5198-4 VOLUME 22 204 PAGES · 9 × 11 · 125 COLOR AND 27 B&W ILLUS. VOLUME 21 One of America’s most popular and influential American artists, Frederic Remington (1861– Of the hundreds of foreign students who 1909) is renowned for his depictions of the attended the Munich Art Academy between Old West. Through paintings, drawings, 1910 and 1915, Walter Ufer (1876–1936) and and sculptures, he immortalized a dynamic E. Martin Hennings (1886–1956) returned to world of cowboys and American Indians, the United States to foster the development of hunters and horses, landscapes and wildlife. a national art. They ultimately established their Frederic Remington: A Catalogue Raisonné II is a reputations in the American Southwest. The comprehensive presentation of the artist’s two German American artists shared much in body of flat work, both in print and on this common, and both would gain membership book’s companion website. It brings together in the celebrated Taos Society of Artists. more than 3,000 reproductions of the artist’s Featuring nearly 150 color plates and historical flat works, including the complete original photographs, A Place in the Sun is a long- 1996 edition of the Catalogue Raisonné and overdue tribute to the lives, achievements, and nearly 300 previously unknown or relocated artistic legacy of these two important artists. pieces. Frederic Remington: A Catalogue Raisonné II is published in cooperation with the Buffalo Bill Center of the West, Cody, Wyoming. OUPRESS.COM 5 800 627 7377 Picher, Oklahoma Wyoming Grasslands Catastrophe, Memory, and Trauma Photographs by Michael P. Berman Photography Todd Stewart and William S. Sutton Essay by Alison Fields By Frank H. Goodyear, Jr. and Charles R. Preston $29.95s CLOTH · 978-0-8061-5165-6 272 PAGES · 8 × 10 · 154 COLOR AND 38 B&W ILLUS. $39.95s CLOTH · 978-0-8061-4853-3 VOLUME 20 232 PAGES · 12 × 10.5 · 64 COLOR AND 58 DUOTONE ILLUS. VOLUME 19 On May 10, 2008, a tornado struck the northeastern Oklahoma town of Picher, The Wyoming landscape, deemed the “Italy destroying more than one hundred homes of America” by landscape painter Albert and killing six people. It was the final blow Bierstadt, has retained its glory if not its place to a onetime boomtown already staggering in the imagination of the American public. This under the weight of its history. The lead and landscape is now captured in all its spectacular zinc mining that had given birth to the town diversity in the photography of Michael P. had also proven its undoing, earning Picher in Berman and William S. Sutton. Essays by 2006 the distinction of being the nation’s most Frank H. Goodyear, Jr., and Charles R. Preston toxic Superfund site. Recounting the town’s provide a contextual framework for the dissolution and documenting its remaining images. Goodyear introduces us to the imagery traces, Picher, Oklahoma tells the story of an of the American West and explains the place unfolding ghost town. With shades of Picher’s of Berman’s and Sutton’s work within that past lives lingering at every intersection, tradition, and Preston focuses on the natural memories of its proud history and sad history of the grasslands, illuminating the decline inhere in the relics, artifacts, personal area’s ecological diversity and changes through treasures, and broken structures abandoned in the seasons and over the years. disaster’s wake. UNIVERSITY OF OKLAHOMA PRESS ART & PHOTOGRAPHY 6 CHARLES M. RUSSELL CENTER SERIES ON Art AND PhotoGRAPHY OF THE American West Picturing Migrants Painted Journeys The Grapes of Wrath and New Deal The Art of John Mix Stanley Documentary Photography By Peter H. Hassrick and Mindy N. Besaw By James R. Swensen $54.95s CLOTH · 978-0-8061-4829-8 $34.95s CLOTH · 978-0-8061-4827-4 $34.95s PAPER · 978-08061-5155-7 272 PAGES · 8.5 × 11 · 207 B&W ILLUS. 308 PAGES · 9 × 11 · 330 COLOR ILLUS. VOLUME 18 VOLUME 17 As time passes, personal memories of the Artist-explorer John Mix Stanley (1814–1872), Great Depression die with those who lived one of the most celebrated chroniclers of the through the desperate 1930s. In the absence American West in his time, was in a sense a of firsthand knowledge, John Steinbeck’s victim of his own success. So highly regarded The Grapes of Wrath and the photographs was his work that more than two hundred of produced for the New Deal’s Farm Security his paintings were held at the Smithsonian Administration (FSA) now provide most of the Institution—where in 1865 a fire destroyed images that come to mind when we think of all but seven of them. This volume, featuring the 1930s. That novel and those photographs, a comprehensive collection of Stanley’s as this book shows, share a history. Fully extant art, reproduced in full color, offers an exploring this complex connection for the first opportunity—and ample reason—to rediscover time, Picturing Migrants offers new insight into the remarkable accomplishments of this Steinbeck’s novel and the FSA’s photography— outsize figure of nineteenth-century American and into the circumstances that have made culture.

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