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Before the early nineteenth century, the ideal of the Jeffersonian yeoman, singly cultivating a subsistence plot for family use, dominated the American imagination; after World War II, the advent of big agribusiness proved less immediately attractive for artists. In \u003ci\u003eWe Gather Together,\u003c\/i\u003e Charles C. Eldredge examines the period in between—when many Americans were farmers and much of America was farmland.\u003cbr\u003e  \u003cbr\u003e Organized in a series of case studies each devoted to a single crop, \u003ci\u003eWe Gather Together\u003c\/i\u003e initially focuses on familiar commodity crops such as corn, wheat, and potatoes, and then expands to other yields by Native American harvesters and California floriculturists, as well as winter ice cutters and coastal seaweed gatherers. This novel history of agriculture and art traces parallel developments on land and canvas, highlighting breakthroughs in each field. Artists such as Winslow Homer, Doris Lee, and Georgia O’Keeffe are joined by innovators in agriculture, whether mechanical inventors such as Eli Whitney, John Deere, and Cyrus McCormick or genetic hybridizers such as Luther Burbank, W. Atlee Burpee, and Theodosia Shepherd. Surveying an astonishing amount of material and a wide range of paintings, prints, and other artworks from the nineteenth century to the mid-twentieth century, \u003ci\u003eWe Gather Together\u003c\/i\u003e gorgeously demonstrates how the use of agricultural metaphors permeated American visual culture. 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Eldredge brings together top scholars to celebrate forgotten artists and create a more inclusive history of American art.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Why do some artists become canonical, while others, equally respected in their time, fall into obscurity? This question is central to \u003ci\u003eThe Unforgettables,\u003c\/i\u003e a vibrant collection of essays by leading experts on American art. Each contributor presents a brief for an artist deserving of new or renewed attention, including artists from the colonial era to recent years working in a wide variety of mediums.\u003cbr\u003e\u003cbr\u003e Histories of American art have traditionally highlighted the work of a familiar roster of artists, largely white and male. The achievements of their peers, notably women and artists of color, have gone uncelebrated. The essays in this volume provide a new and richer understanding of American art, expanding the canon to include many worthy talents. 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In four wide-ranging essays, art historians examine western American art alongside concurrent events in American art and history. These essays reveal intriguing--and often surprising--intersections among American history, western American art, and the larger canon of American art. \u003cp\u003e\u003c\/p\u003e By investigating vertically within single decades it is possible to compare what multiple artists were producing at a given time. This approach reveals, for example, the interesting fact that Thomas Moran and Charles M. Russell both died in 1926. Though active at the same time, Moran and Russell created very different bodies of work. \u003ci\u003eDecades\u003c\/i\u003e illuminates these and other diverse artistic reactions to the seismic changes in American life and culture following the turn of the twentieth century. \u003cp\u003e\u003c\/p\u003e Widely accepted at the time was the idea that the western frontier had closed. 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