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Sam Chamberlain's Mexican War is an important book. . . . There is no other collection of such impressive dimension that reflects the experiences of a common volunteer soldier."
--Robert W. Johannsen, author of To the Halls of the Montezumas: The Mexican War in the American Imagination
Private Sam Chamberlain provided up-close views of the Mexican War. This book reproduces these treasures for the first time in color
It is with great pride that the Texas State Historical Association announces the publication of our newest version of this timeless Texas history classic by the late Jack Jackson, award-winning scholar and illustrator. The New Texas History Movies is a totally revised edition with new cartoon strips and text by Jackson. Jackson gained fame as an underground cartoonist in the 1960s and, later, as an independent scholar who specialized in the history of the Spanish presence in Texas.
Jack took much pride in this revision, for the original Texas History Movies was a great inspiration to him. As Jackson states in the afterword, it was his objective "to create a 'time- machine' effect that would make readers feel like they were there when the events occurred." He hoped that his "rendition of the old classic, Texas History Movies, would 'grab' a few young minds and make them want to learn more about the interesting people and events briefly touched on in this booklet." It could almost be said that Jack's love for Texas history began with Texas History Movies; and it is fitting that his work has come full circle with his rendition of this enduring Texas history classic.
An Educator's Edition with additional content by Jana Magruder is available to help teachers incorporate this book into the seventh- grade curriculum. The TEKS-based guide contains activities and TAKS-based assessments for each chapter. It is designed to facilitate interdisciplinary connections between history and language arts teachers while building student skills in reading, writing, and social studies. Included in this Educator's Edition is a CD-ROM containing the materials necessary for easy classroom use.
African Americans have for the most part been absent from Texas's photographic history. Scholarly texts on photography rarely mention black Texans, and few museums have catalogued or displayed their work. Portraits of Community redresses this situation by presenting more than two hundred powerful images of black Texans taken by a group of little-known black photographers and includes deatiled interviews with the men and women behind the cameras. Alan Govenar, a writer, folklorist, photographer, and filmmaker in Dallas, has created a memorable book.
Born in San Augustine, Texas, in 1868, Thomas moved with his family to Dallas a few years later. He was first recognized as an artist at the age of eight, when he won a certificate from the North Texas Fair Association for a pencil drawing of hunting dogs. At age twelve he illustrated a book about outlaw Sam Bass. As a teenager, after the family moved to San Antonio, Seymour began painting with oils and studied under Theodore Gentilz. It was during this time that Seymour painted his famous view of the San José Mission, featured on the book's cover.
In Paris, Thomas won several medals at salons and met fellow American art student Helen Haskell, who became his wife. Once he had established his reputation as an artist, he turned most of his efforts toward portraiture, producing likenesses that combined a meticulous attention to detail with an effort to bring out each sitter's personality.
This book, published by the Texas State Historical Association for the Witte Museum, is a fitting tribute to Seymour Thomas's life and work. Rich in details from family letters and diaries and illustrated with color reproductions of Thomas's paintings, as well as with family photos and examples from his sketchbooks, the book is a significant addition to our knowledge of Texas art and artists.
R. Pearce-Moses, "From Niépce to Now: Thirty Million Photographs in Texas"
R. Cox, "Dust Bowl Realism: Texas Printmakers and the FSA Photographers of the Great Depression"
F. Carraro, "Jerry Bywaters: A Texas Printmaker"
D. Farmer, "The Printmakers Guild and Women Printmakers in Texas, 19391965"
P. H. Brink, "The Galveston That Was: Requiem or Inspiration?"
N. Jacobson, "Armadillos, Peccadilloes, and the Maverick Posterists of Austin, Texas"
J. H. Fox, "TexStyle Art: The Evolution of Quality Silkscreened Imagery upon T-Shirts in Austin, Texas, 19681988"
K. B. Ragsdale, "W. D. Smithers: Pictorial Chronicler of the Big Bend Country of Texas"
B. Huseman, "The Beginnings of Lithography in Texas"
K. J. Adams, "Texas Impressions: Graphic Arts and the Republic of Texas, 18361845"
J. P. McGuire and D. Haynes, "William DeRyee, Carl G. von Iwonski, and Homeography, a Printing Process"
C. Brandimarte, "Immaterial Girls: Prints of Pageantry and Dance, 19001936"
R. Flukinger, "The Panoramic Photography of E. O. Goldbeck"
In Julian Onderdonk: The Lost Years, the Lost Paintings, James Graham Baker explores the artist’s New York years, so often neglected by previous scholars. Through painstaking research, Baker reveals that Onderdonk painted hundreds of images under pseudonyms during his time in New York. These images not only reveal the means by which the artist struggled to make ends meet, but add another dimension to our understanding of the artist’s oeuvre. It is not possible to appreciate and understand Julian Onderdonk and his art without including these works. Largely composed of landscapes and marine scenes depicting the vanishing rural areas and shorelines around New York City, they show that Onderdonk was more than simply a bluebonnet painter.”
Along Forgotten River: Photographs of Buffalo Bayou and the Houston Ship Channel, 19972001, With Accounts of Early Travelers to Texas, 17671858
- Original Price
- Geoff Winningham
In Along Forgotten River, Winningham has sequenced eighty of his striking, large-format black-and-white photographs, following Buffalo Bayou from its source in the Katy Prairie through the suburbs and into the inner city of Houston. From there, his stunning duotone photographs follow the bayou east to its confluence with the San Jacinto River, where it becomes the Houston Ship Channel, crosses Galveston Bay, and enters the Gulf of Mexico.
As a counterpoint to his photographs, Winningham has edited and sequenced passages from the written accounts of the earliest travelers to this part of Texas. Impelled by dreams or curiosity, an incredibly diverse lot of travelers came along the roads and streams of Texas in the preceding centuries. There were Spanish friars and itinerant preachers, prospective settlers, refugees, adventurers, exiles, and naturalists.
Some travelers came with their families, looking for a place to settle. Mrs. Dilue Harris was one of these who came to Texas in the early 1830s. In her "Reminiscences," she recalled a night on Buffalo Bayou: "We were surrounded by wolves and water. There was a large sycamore tree that stood in the water near us, and it was as white as snow. The buzzards roosted in it. We could hear owls hoot all night. Mother said it was a night of horrors. . . . She said the owls were singing a funeral dirge, and the wolves and buzzards were waiting to bury us. . . ."
In Along Forgotten River, Winningham has selected passages from the writings of these and other early travelers and interwoven them with his remarkable and beautiful photographs. The result is a complex and fascinating interplay of pictures and words, of historical perspective and present-day observation.