A bibliography for American Tonalism – Part 2

magazinesBooks about individual artists. In case there are multiple books related to one artist, a non exhibition-catalog book is preferred. It is hard to make a complete list at the first draft, so your input is much appreciated.

Ralph Albert Blakelock

The latest scholarly book by Glyn Vincent. If you prefer picture books, “The Unknown Blakelock” , a companion of exhibition catalog is a good choice.

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Bruce Crane

This catalog book is still for sale at Florence Griswold Museum at much more affordable price.

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Elliott Daingerfield

The protege of Inness and his first biography author was too shy to write his autobiography.

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Charles Harold Davis

This is a recent gallery show catalog. 

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Thomas Wilmer Dewing

This is a great scholarly book of Dewing.

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Charles Warren Eaton

One of the best books I have read regarding to tonalism and the painter.

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Birge Harrison

Nothing is more interesting than to read the artist’s own discourse of art making. Older version (first edition) makes sense if you can find one.

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Arthur Hoeber

I wish I can tell more about this book. But the price tag is really scary. The 1915 version seems more reasonably priced. 

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William Morris Hunt

Here comes an important figure in the Barbizon movement. There are so many books about him. His own book regarding painting method is still inspiring to read. Then his relationship with Vose gallery makes the second book a good choice. The last book is the latest scholarly contribution.

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George Inness

It is appropriate to call him the dean of American Barbizon school. Two books got Geo’s recommendation. The last is a Raisonne by Michael Quick which is hated by so many eBay sellers who cannot claim their authenticity anymore. (Kidding.)

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William Langson Lathrop

I see more impressionism than tonalism in Lantrop’s works. This is an exhibition catalog.

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Homer Dodge Martin

Another important painter about whom the scholarly works really lack. A 26 page book is all I can find so far.

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Herman Murphy

He is more remembered as a frame maker now. The frame exhibition which I saw a few years in Butler Museum of American Art has examples from his workshop.

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John Francis Murphy

Unfortunately, the out-of-print book is very expensive now. I am grateful to find this book a few years ago under 15 bucks. Ironically, from my last email communication with Hudson River Museum, his works are not shown in the galleries now.

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Leonard Ochtman

The line between tonalism and quiet impressionism championed by Ochatman and Twachtman is thinner than the white paint that Twachtman used for his painting “Sailing in the Mist” at PAFA.

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Henry Ward Ranger

Although he was called the dean of American Landscape painting at the turn of the century, not much spotlight is shining on his works nowadays. I have found the two thin books similar. One article from conservation point of view discusses the use of varnish on his work. Unfortunately you can hardly get the depth of those yellowish varnish effect from even the best reproduction print. 

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Dwight William Tryon

The book is phenomenal scholar work. See my review.

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Julian Alden Weir

I am wondering whether there are some artworks or books about him in Weir Farm National Historic Site.

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James Abbott McNeill Whistler

There are just too many exhibitions and books. I pick one that is thick enough that you don’t want to carry on the train.

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Alexander Helwig Wyant

The antique book by Eliot Candee Clark features some best print (15 plates). There are only 300 copies in total. Again, Wyant’ influence in his times is not proportionally represented in the current scholarly works.

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About Hui

Wang Hui lived from 1632 - 1717 and followed in the footprints of his great grandfathers, grandfather, father and uncles and learned painting at a very early age. He was later taught by two contemporary masters, Zhang Ke and Wang Shimin, who taught him to work in the tradition of copying famous Chinese paintings. This is most likely the reason why critics claim that his work is conservative and reflects the Yuan and Song traditions. One critic claimed that "his landscape paintings reflect his nostalgic attachment to classical Chinese aesthetics. Along with the other Wangs, Wang Hui helped to perpetuate the tradition of copying the ancient masters rather than creating original work.

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