One of the great American Modernist artists, Charles Burchfield (1893-1967) is often associated with the romantic nature fantasies he produced in his later years, but his earliest engagements with Modernism are often overlooked. In Charles Burchfield 1920: The Architecture of Painting, the importance of this phase is examined for the first time. Assembling a tight group of Burchfield's watercolors, it highlights works executed between 1918 and 1920, which depict the stark houses and industrial landscapes of Burchfield's Salem, Ohio. These watercolors employ certain hallmarks of Modernist pictorial strategy, such as flattened space, reductive simplicity and industrial themes, but without the crisp Precisionism of a Demuth or a Sheeler--rather they convey Burchfield's simultaneous engagement with Folk Art and Expressionism. By positioning this period as integral to (rather than anomalous within) the trajectory of Burchfield's career, the insights of authors Michael Hall, Nannette Maciejunes and Karli Wurzelbacher here provide a richer understanding of Burchfield's art....

The great English country house tradition reached its apotheosis in the nineteenth century. Designed by all the most eminent architects of the age, houses constructed during this period were larger, more elaborate, and more lavishly furnished than ever before, and they became famous throughout Europe and America for their luxury, technological innovation, and convenience of plan.

Michael Hall's survey draws on the vast archive of the great British magazine Country Life to present the fullest visual record yet published of the Victorian-era country house in England and Wales. It ranges from the High Gothic of Tyntes?eld to Ferdinand Rothschild's ?amboyantly French Waddesdon Manor and Philip Webb's Arts and Crafts interiors at Standen. These remarkable photographs are in many cases the only record of the great houses in their heyday; those such as Wrest Park, Thoresby Hall, and Hewell Grange were all sold in the twentieth century and their magni?cent furniture and priceless artwork and collections dispersed. Houses that have survived with their interiors intact but are little known or rarely accessible to the public also feature prominently, such as Flintham Hall and the Earl of Harrowby's Sandon Hall.

Spectacular color photographs provide a fascinating look at some of the most celebrated houses of the period, from A. W. N. Pugin's Scarisbrick Hall and William Burges's Cardiff Castle to J. F. Bentley's Carlton Towers and J. D. Crace's astonishing interiors at Longleat. This chronologically arranged survey of Victorian houses spans the decades from the 1830s to the 1890s and includes not only new houses, but also historic county seats that have been in families for generations and were given major renovations or additions in this era. With over 150 superb color and black-and-white photographs specially selected to highlight the century's most signi?cant houses and their architects and an authoritative commentary by Michael Hall, this book provides a thorough overview of a major period in British architectural history....

A heart can be hopeful, or silly, or happy. A heart can be rugged, or snappy, or lonely. A heart holds every different feeling, and debut author-artist Michael Hall captures each one with a delicate touch.

For each feeling, the bold, graphic artwork creates an animal out of heart shapes, from "eager as a beaver" to "angry as a bear" to "thoughtful as an owl." An accessible and beautiful debut, My Heart Is Like a Zoo is everything a classic picture book should be: honest, sincere, and speaking directly to even the very youngest child.

Ages: 0 - 5

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Welcome to the zoo!

Twenty animals are waiting for you—some are familiar, some may be brand-new.

What are they doing?

How are they feeling?

Are they friends of yours?

Come on in and say hello!

Michael Hall's menagerie invites you and your children to talk about feelings and emotions, explore color and shapes, count the hearts, and meet the animals.

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