One Hundred Stories

Modern MastersAmerican Abstraction at Midcentury

Virginia Mecklenburg. With a Foreword by Elizabeth Broun, Director, Smithsonian American Art Museum

Published by GILES in association with the Smithsonian American Art Museum, Washington D.C.

Modern Masters - Book cover

Modern Masters - Double page spread

Modern Masters - Double page spread

Release Date — February 2009 (UK and USA)

Dimensions — 264 pages, 305 × 254 mm (10 × 12 in.), portrait

Illustrations — 85 colour and 66 b&w illustrations

Hardback price — UK£30.00 / US$65.00

ISBN — 1-904832-59-8

ISBN — 978-1-904832-59-1

Book Details (pdf) — Modern-Masters-AI-LR.pdf

Trade Orders — Please visit our Trade Orders section

Press Release — “Modern Masters” - new survey of postwar American

Sales Points

An invaluable survey for students in schools and colleges

Publication accompanies the inaugural exhibition at the new Yann Weymouth building designed to house the Patricia & Phillip Frost Art Museum, Florida International University, Miami, in November 2008, the first stop on a 9-venue U.S. tour

Features works by 31 artists, including Adolph Gottlieb, Philip Guston, Franz Kline, Robert Motherwell, Helen Frankenthaler, Joan Mitchell and Larry Rivers

About the Book

This brand new volume presents in, stunning colour, over 60 postwar artworks from the collection of the Smithsonian American Art Museum, and looks at the rise to prominence of New York as the centre of the modern art scene in the two decades following the Second World War.

Some 31 major artists are featured, including Adolph Gottlieb, Philip Guston, Franz Kline, Grace Hartigan, Robert Motherwell, Romare Bearden, Richard Diebenkorn, Jim Dine, Helen Frankenthaler, Joan Mitchell, Louise Nevelson, Larry Rivers and Theodore Roszak. In her main essay Virginia Mecklenburg draws heavily on contemporary photographs, magazine and newspaper articles, diaries and personal recollections, to bring to life the works of art, the lives of the artists who created them, the galleries that exhibited them and the public’s reaction to them. She explains how the unique combination of the media, individual critics, and curators and gallery owners, was so important in shaping a distinctly modern American art form during the late 1940s and 1950s.

About the Author(s)

Virginia M. Mecklenburg is senior curator, painting and sculpture, Smithsonian American Art Museum. She is co-author of Edward Hopper: The Watercolors (1999)