Julian Onderdonk Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Julian Onderdonk book. This book definitely worth reading, it is an incredibly well-written.
Sumptuously illustrated, this catalogue is the definitive resource on Julian Onderdonk, an American Impressionist artist who lived and worked primarily in Texas. A native of San Antonio, who trained in New York with William Merritt Chase, Onderdonk (1882-1922) created vibrant paintings of the Texas landscape. This publication authoritatively demonstrates the breadth, quality, and brilliance of Onderdonk's work, and illustrates his oeuvre--more than 1,200 pieces--in full. The book also includes an extensive chronology of the artist's life and career, as well as an essay by Emily Ballew Neff, an expert on Western American art. The first publication to document the complete works of this talented artist, this catalogue raisonné brings Onderdonk's extraordinary, lyrical paintings to a long-deserved national audience. Distributed for the Museum of Fine Arts, Houston Exhibition Schedule: Museum of Fine Arts, Houston Fall 2016 San Antonio Museum of Art (01/20/17-04/23/17) Art Museum of South Texas (05/12/17-August 2017)
Famed for his bluebonnet landscapes, San Antonio native Julian Onderdonk may be the most well-known artist Texas has ever produced. Onderdonk spent several years outside the state, though, seeking to make a name for himself in New York City. He spent much of his time in New York as the very definition of a starving artist. In Julian Onderdonk: The Lost Years, the Lost Paintings, James Graham Baker explores the artist’s New York years, so often neglected by previous scholars. Through painstaking research, Baker reveals that Onderdonk painted hundreds of images under pseudonyms during his time in New York. These images not only reveal the means by which the artist struggled to make ends meet, but add another dimension to our understanding of the artist’s oeuvre. It is not possible to appreciate and understand Julian Onderdonk and his art without including these works. Largely composed of landscapes and marine scenes depicting the vanishing rural areas and shorelines around New York City, they show that Onderdonk was more than simply a “bluebonnet painter.”
From the end of the 18th century to the beginning of World War I, the oratorio was Britain's most important and accesible musical genre. Understanding Elgar's four oratorios within this history should add a great deal to our understanding of Elgar, musical life at the time, and the differences between the public and private spaces of Britain's religious worship.
Herbert Howells (1892-1983) was a prodigiously gifted musician and the favourite student of the notoriously hard-to-please Sir Charles Villiers Stanford. Throughout his long life, he was one of the country's most prominent composers, writing extensively in all genres except the symphony and opera. Yet today he is known mostly for his church music, and there is as yet relatively little serious study of his work. This book is the first large-scale study of Howells's music, affording both detailed consideration of individual works and a broad survey of general characteristics and issues. Its coverage is wide-ranging, addressing all aspects of the composer's prolific output and probing many of the issues that it raises. The essays are gathered in five sections: Howells the Stylist examines one of the most striking aspect of the composer's music, its strongly characterised personal voice; Howells the Vocal Composer addresses both his well-known contribution to church music and his less familiar, but also important, contribution to the genre of solo song; Howells the Instrumental Composer shows that he was no less accomplished for his work in genres without words, for which, in fact, he first made his name; Howells the Modern considers the composer's rather overlooked contribution to the development of a modern voice for British music; and Howells in Mourning explores the important impact of his son's death on his life and work. The composer that emerges from these studies is a complex figure: technically fluent but prone to revision and self-doubt; innovative but also conservative; a composer with an improvisational sense of flow who had a firm grasp of musical form; an exponent of British musical style who owed as much to continental influence as to his national heritage. This volume, comprising a collection of outstanding essays by established writers and emergent scholars, opens up the range of Howells's achievement to a wider audience, both professional and amateur. PHILLIP COOKE is Lecturer in Composition at the University of Aberdeen. DAVID MAW is Tutor and Research Fellow in Music at Oriel College, Oxford, holding Lectureships also at Christ Church, The Queen's and Trinity Colleges. CONTRIBUTORS: Byron Adams, Paul Andrews, Graham Barber, Jonathan Clinch, Phillip A. Cooke, Jeremy Dibble, Lewis Foreman, Fabian Huss, David Maw, Diane Nolan Cooke, Lionel Pike, Paul Spicer, Jonathan White. Foreword by John Rutter.
This lavishly illustrated catalogue offers a critical look at Impressionist Julian Onderdonk (1882-1922), one of Texas's finest landscape painters and a pupil of William Merritt Chase. Onderdonk transformed the Texas landscape, creating indelible images of his native state. One of Chase’s most dazzling students at the Shinnecock Summer School in Long Island, he brought Chase’s aesthetic of nature to an entirely new part of the American landscape. By his death at age 40, Onderdonk had been christened "The Bluebonnet Painter” in recognition of his lush signature landscapes featuring fields of the state flower. The essays examine the relationship between Chase and Onderdonk and how that dialogue transformed the way the latter viewed Texas. They also address Onderdonk’s relationship to the Western American tradition of landscape painting. Readers and viewers interested in American landscape, American Impressionism, and Southwestern art will enjoy both the critical essays and the beautiful illustrations--many never before seen.
This is the first general history of San Antonio, Texas, the seventh largest city in the nation. Its past is complex and ranges across 300 years, from the community’s origins as a tiny Spanish frontier town to its contemporary status as a vital American mega-city. Site of some of the most violent struggles between warring empires and people—historians believe San Antonio may be the most fought-over city in U.S. history—it is perhaps most celebrated for the iconic 1836 Battle of the Alamo. The city is also home to four beautifully restored Spanish missions, which in 2015 UNESCO designated a World Heritage Site and have become integral to San Antonio’s robust tourist economy along with the fabled River Walk. This study weaves together a series of environmental, social, political, and cultural pressures that have shaped life in the Alamo City over the last three centuries. Residents have long fought to protect and utilize water and other resources even as they have struggled to achieve equal rights and build a more open and democratic society. Activists from all sectors of this multicultural city have believed deeply in its promise even though they have had to push hard to secure and expand its potential. Their efforts were every bit as intense in the nineteenth and twentieth centuries as they have been in the twenty-first. Written for a general audience, but with a scholarly attention to detail and nuance, San Antonio: A Tricentennial History immerses readers in the city’s fascinating and fraught past.