George Inness: A Catalogue Raisonne

New Brunswick, NJ: Rutgers University Press, 2007. Hardbound. VG/VG/VG slipcase As New. Light brown cloth with thick, glossy, color pictorial yellow dustjackets. 2 Volumes. Vol. 1: xiii, [3], 592 pp. Vol. 2: x, [2], 548 pp. Profusely illustrated with 238 color and 1, 477 bw plates. Widely regarded as one of the greatest American landscape painters, George Inness worked professionally for fifty years, from his first appearance at the annual exhibition of the National Academy of Design in 1844 to his last in 1894. That half century saw tremendous transformations in the political, social, and cultural climate of the country, and in the art world. Art historians have always recognized that Inness's work evolved considerably alongside these broader changes. Yet, until now, the literature on his work has not recognized the full extent to which this artist pushed himself in new stylistic and technical directions. Inness himself once said, "I do not care about being a cake; I shall remain dough, subject to any impression which I am satisfied comes from the region of truth." As it turns out, the variety and malleability of his work is far greater than anyone has acknowledged.
For the first time, a complete and coherent picture of Inness's career is available in this elegant collection of 1,154 of his paintings and sketches. Michael Quick, who is considered one of the two foremost George Inness authorities in the country, provides a detailed look at the artist's long career. He includes scholarly commentary on individual works, as well as Inness's stylistic and thematic development, his subjects, mediums, working method, and relationships among his paintings. The analysis considers likely motives for changes in his style, including the influence of other artists such as Asher B. Durand, Elihu Vedder, and James Whistler, as well as the less obvious impact of changes in his patronage and financial situation.

From his beginnings in the first generation of the Hudson River School to the tonalist impressionism of his later years, this catalogue offers a more accurate chronological order of Inness's works than any previous publication. In addition, the discovery of more paintings from the 1840s and 1850s clarifies parts of his early career that have been obscured until now. A deserved tribute to an artist who stands as a central figure in the development of American painting during the late nineteenth century, this definitive collection will serve as the foundation for all future interpretations of this great artist's work, as well as an essential source for those interested in American landscape painting. One reviewer wrote: "This twin volume set is much more than a catalog. Instead of the dusty black and white photos from ancient sources used in most catalogues raisonne, Michael Quick provides us with a compendium of crisp black and white reproductions interspersed with a hundred beautiful color images. Initially I felt the color images were a little on the small side (usually two to a page) but after perusing the books awhile I found them more than adequate due to the exceptional quality of the film work and printing. The color sections have no text so the reproductions are afforded maximum space