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Following in the footsteps of Boston Bohemia, 1881–1900, Douglass Shand-Tucci's widely praised portrait of Ralph Adams Cram's early years, this volume tells the story of Cram's later career as one of America's leading cultural figures and most accomplished architects.

With his partner Bertram Goodhue, Cram won a number of important commissions, beginning with the West Point competition in 1903. Although an increasingly bitter rivalry with Goodhue would lead to the dissolution of their partnership in 1912, Cram had already begun to strike out on his own. Supervising architect at Princeton, consulting architect at Wellesley, and head of the MIT School of Architecture, he would also design most of New York's Cathedral of St. John the Divine and the campus of Rice University, as well as important church and collegiate structures throughout the country. By the 1920s Cram had become a household name, even appearing on the cover of Time magazine.

A complex man, Cram was a leading figure in what Shand-Tucci calls "a full-fledged homosexual monastery" in England, while at the same time married to Elizabeth Read. Their relationship was a complicated one, the effect of which on his children and his career is explored fully in this book. So too is his work as a religious leader and social theorist.

Shand-Tucci traces the influence on Cram of such disparate figures as Franklin Delano Roosevelt, Phillips Brooks, Henry Adams, and Ayn Rand. He divides Cram's career into four lifelong "quests": medieval, modernist, American, and ecumenical. Some quests may have failed, but in each he left a considerable legacy, ultimately transforming the visual image of American Christianity in the twentieth century.

Handsomely illustrated with over 130 photographs and drawings and eight pages of color plates, Ralph Adams Cram can be read on its own or in conjunction with Boston Bohemia, 1881–1900. Together, the two volumes complete what the Christian Century has described as a "superbly researched and captivating biography."

The artistic achievements of Romaine Brooks (1874–1970), both as a major expatriate American painter and as a formative innovator in the decorative arts, have long been overshadowed by her fifty-year relationship with writer Natalie Barney and a reputation as a fiercely independent, aloof heiress who associated with fascists in the 1930s. In Romaine Brooks: A Life, art historian Cassandra Langer provides a richer, deeper portrait of Brooks's aesthetics and experimentation as an artist—and of her entire life, from her chaotic, traumatic childhood to the enigmatic decades after World War II, when she produced very little art. This provocative, lively biography takes aim at many myths about Brooks and her friends, lovers, and the subjects of her portraits, revealing a woman of wit and passion who overcame enormous personal and societal challenges to become an extraordinary artist and create a life on her own terms.

Romaine Brooks: A Life introduces much fresh information from Langer's decades of research on Brooks and establishes this groundbreaking artist's centrality to feminism and contemporary sexual politics as well as to visual culture.

In Rustic Cubism, Bruce Adams tells the fascinating story of Moly-Sabata, an art colony founded in the Rhône Valley during the height of French modernism by Cubist pioneer Albert Gleizes. Following his social and spiritual agenda of earthly labor and a Celtic-medievalist view of Christianity, Gleizes' disciples worked to fuse Cubism with a revival of ancient agrarian, artisanal traditions. The most important and committed member of this experimental commune was ceramicist Anne Dangar (1885-1951).

In part a gripping biography of this Australian expatriate, Rustic Cubism chronicles Dangar's personal battles and the tumult of the World War II era during her tempestuous tenure at Moly-Sabata. Dangar dedicated herself to the colony's aims by working in the region's village potteries, combining their vernacular elements with Gleizes' design methods to arrive at a type of rustic Cubism. Her work there would ultimately be rewarded; her pieces can today be found in the Musée des Arts Décoratifs in Paris, the Musée d'Art Moderne de la Ville de Paris, the Museo Internazionale delle Ceramiche in Faenza, the National Gallery of Australia, Canberra, and many other museums.

Rustic Cubism places Dangar at the heart of Moly-Sabata's alternative art movement—one that, in its nostalgic present, attempted to construct a culture based on the distant past. Generously illustrated with photographs of the art and social milieu of the period, this captivating and original narrative makes a considerable contribution to our understanding of French modernism and early twentieth-century cultural politics as well as of the life of a most talented and intriguing female artist.