This survey (a follow¿up to the earlier volumes: New York School Abstract Expressionists: Artists Choice by Artists;7 American Abstract Expressionism of the 1950s An Illustrated Survey.8) intends to present a significantly different approach. Fifty eight American painters and sculptors of the post-World War II era, are represented, each by one abstract and one figurative work.The book intends to show that the most engaged mainstream creative work in New York and across the USA was not restricted to non-representational or representational expressionism but rather to the creative power of the individual expressionist artist. The artists are represented in alphabetical order. The usual convention of critical analysis is replaced by statements written by the artists themselves. The statements may serve to enlighten the readers as to the artists¿ relation to their creative process. The biographical information for each artist is presented in a standardized, uniform fashion. It is critical that a reference book of this sort would provide excellent, large format reproductions. The books were printed by the world renowned Dr. Cantz¿sche Druckerei in Ostfildern, Germany,

This eye-opening volume from longtime curator April Kingsley explores the many guises, transformations, and incarnations of Figurative Expressionism in America. An important movement in postwar American painting, Figurative Expressionism is art at a high excitement level, enjoyable for the sheer love of paint as well as for the way the figure is handled. Absorbed with finding imagery in the process of painting, artists like Grace Hartigan, Lester Johnson, Robert De Niro Sr., Philip Guston, Robert Beauchamp, and Richard Diebenkorn are just a few of the individuals recognized herein. Kingsley deftly navigates major influences, particularly Hans Hofmann, whose spatial concepts, love of pain, bravura ability to handle it, and habit of working from a model or motif had a great impact on these artists. Likewise, in the wake of Willem de Kooning's 1953 exhibition showcasing his Women paintings, his shift between abstraction and figuration sparked controversy and led painters like Guston, Hartigan, and De Niro to reconsider the incorporation of the figure. With special attention to the emergence of a New York style of painting, Emotional Impact captures the group's robust, energetic style and explores its origins and evolution in vivid detail.

This exhibition catalog examines the figurative aspects of New York School painting at the height of abstract expressionism. It represents 13 artists who countered the prevailing abstract mode in favor of the figure. The volume also includes four informative essays that elucidate the illustrations, and provides a list of exhibits for each artist from 1950 to 1965. ISBN 0-8478-0942-0: $37.50 (For use only in the library).

"Should be the classic, central, definitive work on the emergence of Bay Area Figurative painting."--Paul Mills, author of The New Figurative Painting of David Park

This publication contains a survey of female abstract expressionist artists, revealing the richness and lasting influence of their work and the movement as a whole as well as highlighting the lack of critical attention they have received to date.

This volume, the catalog of the fiftieth-anniversary exhibition at the Whitney, charts the main currents of twentieth-century American figurative art. More than 200 illustration, 32 in color, are included.

After attending Wake Forest University on an athletic scholarship, J. Donald Nichols played professional baseball with the Baltimore Orioles. From there he went into the real estate development business. He has built more than 175 shopping centers throughout the country, and his company, JDN Realty, is listed on the New York Stock Exchange. Nichols first began collecting American Impressionist paintings in the 1970s, buying one painting as his personal reward for each shopping center he built. After ten years, he began looking for a new area in which to collect. The J. Donald Nichols Collection is now recognized as perhaps the finest collection of American abstract art of the 1930s and 1940s ever assembled.