Rachael Z. DeLue – författare

Arthur Dove, often credited as America's first abstract painter, created dynamic and evocative images inspired by his surroundings, from the farmland of upstate New York to the north shore of Long Island. But his interests did not stop with nature. Challenging earlier accounts that view him as simply a landscape painter, Arthur Dove: Always Connect reveals for the first time the artist's intense engagement with language, the nature of social interaction, and scientific and technological advances. Rachael Z. DeLue rejects the traditional assumption that Dove can only be understood in terms of his nature paintings and association with photographer and gallery director Alfred Stieglitz and his circle. Instead, she uncovers deep and complex connections between Dove's work and his world, including avant-garde literature, popular music, machine culture, meteorology, mathematics, aviation, and World War II, just to name a few. Arthur Dove also offers the first sustained account of Dove's Dadaesque multimedia projects and the first explorations of his animal imagery and the role of humor in his art.Beautifully illustrated with works from all periods of Dove's career, this book presents an unprecedented vision of one of America's most innovative and captivating artists-and reimagines how the story of modern art in the United States might be told.

George Inness (1825-94) is considered one of America's greatest landscape painters. A complicated artist and thinker, he painted stunning, evocative views of the American countryside.Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry - including optics, psychology, physiology, and mathematics - with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's "George Inness and the Science of Landscape" - the first in-depth examination of Inness' career to appear in several decades - demonstrates how the artistic, spiritual, and scientific aspects of Inness' art found expression in his masterly landscapes. In fact, Inness' practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This beautifully illustrated work reveals Inness' profound investment in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America.

George Inness (1825-94), long considered one of America''s greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry—including optics, psychology, physiology, and mathematics—with an idiosyncratic brand of mysticism. Rachael Ziady DeLue''s George Inness and the Science of Landscape—the first in-depth examination of Inness''s career to appear in several decades—demonstrates how the artistic, spiritual, and scientific aspects of Inness''s art found expression in his masterful landscapes. In fact, Inness''s practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.