The Southwestern Historical Quarterly, Volume 106, July 2002 - April, 2003 Page: 503
opened to the public in a 19,000 square foot facility on January 21, 1961. When
plans were formulated for the extensive expansion of the facility, Philip Johnson
was again called upon in 1999 to add a 50,000 square foot showcase for the mu-
seum's permanent collection.
The publication has the daunting task of encapsulating the riches of a collec-
tion that has grown in the last forty years to more than 250,000 artworks from
nineteenth- and twentieth-century American culture. The museum's first direc-
tor, Mitchell Wilder, wisely implemented Carter's vision of a museum dedicated
to American art, and subsequent directors have acquired watercolors, oil paint-
ings, drawings, prints, photographs, sculpture, and books to form one of the
leading museum collections of American art. The Amon Carter Museum is
known for its well researched and well produced exhibition catalogues.
This publication, marking the recent expansion and reopening of the museum,
is exemplary of the careful scholarship for which the Amon Carter Museum is
known. "A Note on the Catalogue" explains the order of the entries of the 125 art-
works in the catalogue, but does not explain the logic or reason why these particu-
lar artworks were included. Certainly with such holdings, it would be difficult to
narrow the description of the collection to 125 works, but missing are such land-
mark American artworks as Albert Bierstadt's Sunrise, Yosemite Valley (c. 1870), Carl
Wimar's The Abduction of Boone's Daughter by the Indians (1855-6), John Quincy
Adams Ward's The Indian Hunter (1860), and Hiram Power's Bust of "The Greek
Slave" (1845-6). Although the mission of the museum is not explicitly stated in
the introduction or the catalogue entries, it is clear that the mission of the Amon
Carter is to collect, conserve, and interpret major examples from the history of
American art. This publication is a testament to the success of that mission.
National Museum of Wzldlzfe Art FRANCINE CARRARO
The Breach. By Brian Kaufman. (Fort Collins: Last Knight Publishing Co., 2oo2.
Pp. viii+199. Introduction, afterword. ISBN 0-9720442-0-5. $12.95, paper.)
In the spirit and style of Ram6n Martinez Caro, Jose Enrique de la Pefia, and
others, Brian Kaufman has successfully written a novel cast as the fieldnotes of
Gen. Manuel Fernandez Castrill6n, a key player in the Texas Revolution. This
engaging book fits snugly in the pantheon of the apologias that surfaced in Mex-
ico after the Mexican Army's defeat at San Jacinto.
Kaufman brings the reader to an intimacy with all the persons that people his
novel. As the Mexican army makes its way from Saltillo to San Jacinto, the au-
thor, through General Castrill6n, pulls the reader in so completely as to become
one with Santa Anna and his senior staff, discovering in the process less than no-
ble behavior in some and exemplary behavior in others. The Breach is a book that
vividly recalls the entire Texas campaign in an easy style that invites reading.
The author also succeeds in his use of "the element of subterfuge." Kaufman,
in the "Introduction," informs the reader of a series of known truths, and then
gingerly slips in a fictitious element. The ploy is subtle enough that most readers
accept as truth that which is not.
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 106, July 2002 - April, 2003, periodical, 2003; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101223/m1/571/ocr/: accessed November 19, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.