The Gilded Age: Treasures from the Smithsonian American Art Museum commemorates Treasures to Go, a series of eight exhibitions from the Smithsonian American Art Museum, touring the nation through 2002.

The craft object creates a link between the forming hands of its maker and the hands and mind of its user.

Published as a celebration of the Renwick Gallery’s twenty-fifth anniversary, this book masterfully illustrates the intellectual and tactile excitement found in American crafts. Photographs of exquisite clarity give this volume an optical effervescence.

The striking design of this book showcases a comprehensive survey of the world’s largest collection of works by American artists, ranging from colonial limners to the contemporary avant-garde.

The American Art Forum, a small group of collectors from across the United States, was begun twenty years ago by Charles C. Eldredge while he was director of the Smithsonian American Art Museum.

40 Under 40: Craft Futures examines the expanding role of the handmade in contemporary culture through the work of the next generation of artists.

Often called the great corridor of America’s westward expansion, in the nineteenth century the Great Platte River Road carried wagon trains and settlers through Nebraska Territory to points farther west.

Graphic Masters celebrates the extraordinary variety and accomplishment of American artists’ works on paper.

The eighty-four pieces of studio furniture owned by the Renwick Gallery of the Smithsonian American Art Museum constitute one of the largest assemblages of American studio furniture in the nation.

A prolific landscape record evolved as soon as cameras and equipment could be reliably used outdoors. Most nineteenth-century photographers worked on government-sponsored surveys. Others helped to lure investors westward with the images they made along the routes of the railroads.

During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists.

In the 1920s, inspired perhaps by the particular light and quality of Gloucester, Massachusetts, Edward Hopper began painting watercolors. He has been celebrated since then as one of the most eloquent of America’s realists.

The six artists whose earthy, urban subjects led critics to call them the “Ashcan School” are featured in this book. The authors document how closely the work of these artists reflected current events and social concerns at the turn of the century.

African American Masters focuses on black artists whose efforts in the twentieth century demonstrate their command of mainstream traditions as well as the open assertion and exploration of their dual heritage.

Inspired by nineteenth-century landscape painting, science-fiction film, and firsthand study, Rockman’s paintings proffer a vision of the natural world that is equal parts fantasy and empirical fact.