The Southwestern Historical Quarterly, Volume 105, July 2001 - April, 2002 Page: 389
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an Indian council at Tehuacana Creek in 1843. A major failing of this book is
that in all too many cases the abbreviated citations do not provide clear guid-
ance to corresponding bibliographic entries. There are author citations with no
differentiation between multiple works by the same writer, and newspaper refer-
ences giving a title but no date. Many bibliographic references lack citations in
the relevant artist's dictionary entry. In certain cases the source notes fail to cite
standard biographies. The reader wishing to make the fullest use of this book
will have to spend much time searching the bibliography for pertinent refer-
One of the more helpful features of Dictionary of Texas Artzsts is the appendix
containing tables of major exhibitions. Although the compilers confess that gaps
exist where certain exhibition records could not be found, they are justly proud
that they have assembled "the first indices to important pre-1945 Texas art exhi-
bitions ever attempted" (p. xix). Further enhancing the book are 157 thought-
fully selected and beautifully reproduced color plates, chosen to reflect "as many
images by lesser-known artists as possible" (p. xix). Although Dzctionary of Texas
Artists suffers from usability problems, collectors and dealers will find it a concise
and convenient reference, and scholars may find within it signposts to more in-
Wellsville, New York Thomas R. Kailbourn
Painters and the American West: The Anschutz Collection. By Joan Carpenter Troccoli,
with the assistance of Marlene Chambers and Jane Comstock. (New Haven:
Yale University Press, 2000. Pp. 218. Foreword, acknowledgments, notes,
references cited, works illustrated, index. ISBN 0-3oo-08722-5. $45.00,
In a lavishly illustrated publication that accompanies a touring art exhibition,
Dr. Joan Carpenter Troccoli uses the Anschutz Collection of paintings to make
the case that Western art is an integral part of mainstream American art history.
As a record of the scope and content of the Anschutz Collection, the publication
will serve as an important document, but the work is not an in-depth examina-
tion of painters and their portrayals of the American West.
A successful entrepreneur and businessman, Philip Anschutz began collecting
paintings of the American West more than twenty-five years ago, and amassed
one of the most important private collections of Western art. The story of this
passionate and maturing art collector is well told by his daughter, Sarah An-
schutz Hunt, whose insightful essay is included in the publication. Inspired by
his interest in Western history and American art, Anschutz built a collection of
more than 650 paintings by 2oo-plus artists spanning 18o years.
The exhibition, Panters and the American West, opened at the Denver Art Muse-
um and will tour through 2003. The publication, unfortunately, does not in-
clude a checklist of the works included in the exhibition, but it does serve as a
record of the strength and scope of the paintings in the Anschutz Collection at
this date. The exhibition catalogue presents more than 2oo color reproductions
with capsule descriptions of the paintings in the exhibition.
The discussion of art works is organized by portraiture, still-life, genre and
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 105, July 2001 - April, 2002, periodical, 2001; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101222/m1/419/: accessed August 21, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.