Synopsis #1: Making American Taste: Narrative Art for a New Democracy is a landmark publication focusing on American narrative art from 1825 to 1870. A significant contribution to our understanding of taste and collecting during this period, it reasseses themes including the rural and the domestic, as well as a broad range of historical, literary and religious subject matter.American art at this time was dominated by powerful arguments about what constituted true art: should it be for the many, or the educated few, and should specifically American art forms and styles be favoured over more traditional, academic, European traditions. Making American Taste looks at these issues through the work of both well-known artists, like Benjamin West, Asher B. Durand and Eastman Johnson, and less familiar names such as Daniel Huntington, Henry Peters Gray and Louis Lang. Synopsis #2: A landmark publication on American art from 1825 to 1870, this is a significant contribution to our understanding of taste and collecting in America during this period. It presents fifty-five paintings from thirty-eight artists drawn from the New York Historical Society’s newly restored and superb collection of narrative art. Synopsis #3: A beautifully illustrated survey of what was "American鈥?about 19th century American art Synopsis #4: This text focuses on American narrative art from 1825 to 1870. A significant contribution to our understanding of taste and collecting during this period, it reasseses themes including the rural and the domestic, as well as a broad range of historical, literary and religious subject matter. Synopsis #5: "Makes a substantial contribution to the understanding of this too-often ignored and undervalued class of painting and sculpture"--Bruce Cole, Wall Street Journal "An important contribution to nineteenth-century American art scholarship"--The Magazine Antiques "The latest in a sequence of stellar publications that throw open new windows onto the holdings of the New-York Historical Society"--Katherine Manthorne, Professor of American Art, Graduate Center, City University of New York "Adds greatly to our understanding of how nineteenth-century paintings told stories"--Marc Simpson, Associate Director of the Graduate Program in the History of Art, Williams College. "Exquisitely illustrated with both recognized and under-appreciated masterpieces"--Holly Pyne Connor, Ph.D., Curator of 19th-Century American Art, Newark Museum "[[]Digs] down to expose the tangled roots of taste formation in a disorderly new democracy that was still trying to figure out what should be "American鈥?about American art"--Sarah Burns, Ruth N. Halls Professor, Indiana University "Along the way, we encounter works of art we鈥檝e long considered quaintly irrelevant and are reintroduced to the paintings and sculptures we thought we knew well"--Rebecca E. Lawton, Curator of Paintings and Sculpture, Amon Carter Museum of American Art Synopsis #6: Barbara Dayer Gallati is curator emerita of American Art, Brooklyn Museum. She is the author ofGreat Expectations: John Singer Sargent Painting Children (2004) and a coauthor ofKindred Spirits: Asher B. Durand and the American Landscape (2007). Linda S. Ferber is vice president and senior art historian of the Museum at the New-York Historical Society. She was formerly Andrew W. Mellon Curator and chair of American Art at the Brooklyn Museum, where she organized and coauthoredKindred Spirits: Asher B. Durand and the American Landscape (2007). She is the author ofPastoral Interlude: William T. Richards in Chester County (2001) andMasters of Color and Light: Homer, Sargent, and the American Watercolor Movement (1998), with Barbara Dayer Gallati. Ella M. Foshay is an independent art historian. When curator of paintings and sculpture at the New-York Historical Society, she produced the catalogMr. Luman Reed鈥檚 Picture Gallery: A Pioneer Collection of American Art (1990) for an exhibition that re-created Reed鈥檚 private art gallery as it would have looked in his house in 1835. She is author of, with Barbara Novak,Intimate Friends: Thomas Cole, Asher B. Durand, and William Cullen Bryant (2000). Kimberly Orcutt is curator of American art at the New-York Historical Society, where she organized the exhibitionJohn Rogers: American Stories. She served as assistant curator of American art at Harvard鈥檚 Fogg Art Museum and curated the exhibitionPainterly Controversy: William Merritt Chase and Robert Henri at the Bruce Museum. She is chair emerita of the Association of Historians of American Art. Synopsis #7: A landmark publication on American art from 1825 to 1870, this is a significant contribution to our understanding of taste and collecting in America during this period. It presents fifty-five paintings from thirty-eight artists drawn from the New York Historical Society’s newly restored and superb collection of narrative art.

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