In his foreword, John Schoonover, dean of Wilmington's storied art community, explains why Bayard Berndt was one of its leaders from 1950 until his death in 1987. In his introductory comments, Charles Allmond, Wilmington sculptor and friend of the artist, remembers Bayard's life-long interest in history and art and explains how Wilmington became a center for art. The artist's son, David Berndt, remembers his father in a charming narrative before discussing his art, which he presents in thirteen thematic collections. Bayard Berndt was taught to paint by Howard Pyle-trained illustrators: Thornton Oakley, Stanley Arthurs, N.C. Wyeth, and Frank Schoonover. His early works reflect his interaction with these illustrators while teaching at the Wilmington Academy of Art. Soon after marrying one of his students in 1935, Bayard and his wife Rita moved ten miles north of Wilmington to Fairville, Pennsylvania where they lived for the rest of their lives. David notices the transition that took place in his father's art after moving to the rolling hills of Chester County. Over the next 50 years, he painted hundreds of plein aire scenes along Brandywine Creek and in its surrounding countryside. After WWII Bayard became the proprietor of Wilmington's most popular art supply and framing shop. His freedom to paint was limited by his responsibilities as a businessman. During the following decade he developed two artistic styles fitting with his double career. He became colorist and brush virtuoso painting rapidly to capture fleeting outdoor light. His works in this genre are reminiscent of Charles Woodbury and George Bellows, and N.C. Wyeth. In his studio, he painted mural-like scenes of historic Wilmington. His works in this genre are reminiscent of Thomas Hart Benton, Grant Wood. The book contains many wonderful examples of both genres. David introduces each collection of paintings with maps that show where they were painted. Many paintings are accompanied by "asides" which highlight the forgotten past of a Brandywine Valley landmark. The book is thus an artistic travelogue through the Brandywine Valley. It is perfect for browsing and a delightful memorial to Bayard Berndt's love of art and history.

"Published in conjunction with the exhibition Dream streets: art in Wilmington 1970-1990. Organized by the Delaware Art Museum June 27-September 27, 2015"--Title page verso.

"Two-volume catalogue raisonne of Schoonover's entire oeuvre, from early sketches to final paintings. Chronologically organized and numbered by his daybook entries, it includes over 3000 full color and black-and-white images, a biography and timeline, lists of exhibitions and magazines illustrated, two additional bibliographies, and three indices"--Provided by publisher.

... all of the artist names listed ... on AskART.com ...

Catalogue raisonné.

An interdisciplinary, code-switching, critical collection by revisionist African American scholar and activist Bernard W. Bell. Bearing Witness to African American Literature: Validating and Valorizing Its Authority, Authenticity, and Agency collects twenty-three of Bernard W. Bell’s lectures and essays that were first presented between 1968 and 2008. From his role in the culture wars as a graduate student activist in the Black Studies Movement to his work in the transcultural Globalization Movement as an international scholar and Fulbright cultural ambassador in Spain, Portugal, and China, Bell’s long and inspiring journey traces the modern institutional origins and the contemporary challengers of African American literary studies. This volume is made up of five sections, including chapters on W. E. B. DuBois’s theory and trope of double consciousness, an original theory of residually oral forms for reading the African American novel, an argument for an African Americentric vernacular and literary tradition, and a deconstruction of the myths of the American melting pot and literary mainstream. Bell considers texts by contemporary writers like Toni Morrison, Alice Walker, William Styron, James Baldwin, and Jean Toomer, as well as works by Mark Twain, Frederick Douglas, and William Faulkner. In a style that ranges from lyricism to the classic jeremiad, Bell emphasizes that his work bears the imprint of many major influences, including his mentor, poet and scholar Sterling A. Brown, and W. E. B. DuBois. Taken together, the chapters demonstrate Bell’s central place as a revisionist African American literary and cultural theorist, historian, and critic. Bearing Witness to African American Literature will be an invaluable introduction to major issues in the African American literary tradition for scholars of American, African American, and cultural studies.

This work is comprised of narratives by the most distinguished nineteenth-century travellers. It is embellished with fine engravings on steel by Buttre, and illustrated by over forty wood engravings by Orr, with thirteen authentic maps by Schonberg. It is a facsimile reprint of the revised and enlarged edition published in two volumes by Moore, Wilstach, Keys in New York in 1860. Published in 1860, this is one of the very early encyclopedias on the history of travel and travel writings. Compiled by Bayard Taylor, popular travel writer and journalist in late nineteenth-century America, it covers all major travels and exploration by westerners to non-western countries from the beginning of nineteenth century, when 'the age of exploration and discovery' started. Including maps and illustrations, this Encyclopedia is an easy-to-use tool for scholars and students to research the history of travel and western encounters of other cultures.