Kim Sajet

Telfair Museum of Art

Hollis Koons McCullough

Emke Raassen-Kruimel

Nina Lübbren

Showcasing more than seventy paintings from collections throughout the United States and Europe, Dutch Utopia explores the work of forty-three American artists drawn to Holland during the late nineteenth and early twentieth centuries. It includes works by artists such as Robert Henri, William Merritt Chase, and John Singer Sargent.

American Artists in Holland, 1880-1914

Dutch Utopia

Daniel Pinchbeck

San Antonio Museum of Art

Robert C. Morgan

David S. Rubin

This eye-popping book offers a visual history of the psychedelic sensibility. In popculture, that sensibility is associated with lava lamps, album covers, and "teashades,"but it first manifested itself in the extreme colors and kaleidoscopic compositions of 1960s OpArtists. The psychedelic sensibility didn't die at the end of the 1960s; Psychedelic traces itthrough the day-glo colors of painters Peter Saul, Alex Grey, and Kenny Scharf, the pill and hempleaf paintings of Fred Tomaselli, the intensified palettes of Douglas Bourgeois and Sharon Ellis,and mixed-media and new media works by younger artists in the new millennium. Although the term"psychedelic" was coined to describe hallucinatory experiences produced by drugs usedpsychotherapeutically, the story these images tell is about the influence of psychedelic culture onthe art world--not necessarily the influence of drugs. As contemporary art evolved into a diverseand pluralistic discipline, the psychedelic evolved into a language of color and light. InPsychedelic, more than seventy-five vivid color images chart this development, exploring the artchronologically, from early Op Art through recent work using digital technology. The book, whichaccompanies an exhibition organized by the San Antonio Museum of Art, includes three essays that setthe works in historical and cultural context.

Optical and Visionary Art Since the 1960s

Psychedelic

Suheil B. Bushrui

Tania Sammons

Kahlil Gibran (1883-1931), Lebanese-born artist and writer, was best known for authoring The Prophet, a collection of short philosophical essays that became one of the top selling books of the twentieth century. In 1895, Gibran, age twelve, immigrated to Boston with his family. Through a series of important connections stemming from the recognition of his creative talents at a local settlement house, the aspiring artist met Mary Haskell, the headmaster of a Boston girls' school. Despite a ten year separation in age, the two formed an important lifelong relationship that culminated in Haskell's patronage and provided Gibran with the security to pursue his career. In 1950, Haskell (who became Mary Haskell Minis in 1926) donated her personal collection of nearly one hundred works of art by Gibran to the Telfair Museums in Savannah, Georgia. Comprising two essays, this book features the Telfair's collection of work by and about Gibran, the largest holding in the United States. The collection spans Gibran's career from his first major exhibition at photographer Frederick Holland Day's studio in Boston in 1904 to works created during the last years of his life. It includes photographs of Gibran and his New York studio and a portrait of the young artist painted by Lilla Cabot Perry. Sammons' essay discusses the visionary artist's creations as well as addresses Gibran's relationship with Haskell and the development of her personal collection, which makes up the majority of the Telfair's Gibran holdings. Bushrui's essay focuses on Gibran's literary contributions through six of Gibran's English-written books from which the Telfair collection includes original illustrations by the artist. These books include The Madman (1918), The Forerunner (1920), Sand and Foam (1926), Jesus the Son of Man (1928), The Earth Gods (1931), and The Garden of the Prophet.

The Art of Kahlil Gibran at Telfair Museums

Telfair Museum of Art

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