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Type of bind: Hardcover
Dewey Decimal Number: 720
EAN num: 9780847825677
ISBN number: 0847825671
Label: Rizzoli
Manufacturer: Rizzoli
Quantity: 1
Page Count: 304
Printing Date: November 22, 2003
Publishing house: Rizzoli
Release Date: November 22, 2003
Sale Popularity Level: 550180
Studio: Rizzoli
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McKim, Mead & White rivals Frank Lloyd Wright for the honor of the premier architectural firm in American architecture. During McKim, Mead & White's most creative period (1879-1915), the firm received nearly 1,000 commissions, which include many of the most famous and important buildings ever built in America. Now, following Rizzoli's Houses of McKim, Mead & White, authors Samuel G. White and Elizabeth White here document the great non-residential works of America's greatest classical architects. In lavish colour and archival photographs, the book includes the Boston Public Library, Newport Casino, the second Madison Square Garden, the Washington Memorial Arch, the Morgan Library, major works at the 1893 World's Columbian Exposition in Chicago, the campuses of Columbia and Harvard universities, Pennsylvania Station in New York, Bank of Montreal, American Academy in Rome, the Century Association, and the Harvard, Metropolitan, and University clubs in New York, among others. McKim, Mead & White: The Masterworks is certain to stand the test of time as one of the most important publications on American architecture.
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Rated by buyers 
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I had been panting over this book when I very first learned of it's release and it was given to me as a gift, quite unexpected, considering it's costly list price.
1) Just because you are related to Mr. White does not mean you have the same gifts. Where architect White was a gifted visionary, builder and man about town, (not to mention murdered lover of Evelyn Nesbitt) author White is pedestrian at best and swinging from gilded-age coat tails at worst.
2) Some of the photography is excellent, and that is the reason this book still lives on my coffee table. However, I will warn you that much of it is flat and lacking in imagination.
3) For lovers of architecture like myself and others who would want to own this book, it is amazingly short of drawings such as elevations and cross-sections. To see these buildings on paper and then in lush colour photographs would have been a better exercise than the travelogue style presentation in this volume.
In short, the book does have some lovely parts, but the whole is a bit disappointing. I don't know that I would pay retail for it, rather I'd look for a good used version, or ask Santa for it for Christmas.
Rated by buyers -
Though the definitive book on these great architects work is still yet to be written, this book certainly does their work justice. I enjoyed the text and felt quite knowledged after reading it. I thought the pictures where bold and well selected, though not to the level of some books of this sort. I especially enjoyed the section on Penn Station, wow, what a building, it is so disheartening that it was leveled for a very mediocre building that may find itself meeting the same fate as Penn Station soon: poetic justice I suppose. I think instead of converting McKim, Mead, and White's Post Office Building into the new Penn Station, they should take the blue prints of the original and build it, this was the firms best work, it's a disgrace that is was so underappreciated by the city govenment a the time. At anyrate, if you have any interest in great Gilded Age architecture, you will certainly enjoy this book, just to get a peek inside some of the most exclusive clubs in America is worth the price of the book.
Rated by buyers 
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Since the author touts himself as a descendant of Stanford White, one doesn't expect much in the way of critical perspective from the text of this book. More disappointing are the contemporary photographs - although reproduced at enormous size, they are oddly flat and lifeless. For a better book at a better price, check out "The Architecture of McKim, Mead & White in Photographs, Plans and Elevations"
Rated by buyers 
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When captains of industry like Morgan, Astor, or Vanderbilt chose to build grand edifices they engaged the services of the architecture firm McKim, Mead, and White. During the firms most inspired period (1879-1915), it built nearly 1,000 commissions, including many famous and important buildings that are still vital parts of the landscape and include: The Morgan Library, Boston Symphony Hall, Columbia University, and the American Academy in Rome.
Written by Samuel G. White (great grandson of Sanford White) and Elizabeth White, McKim, Mead, and White: The Masterworks documents non-residential works of America's greatest classical architects. This new book showcases twenty-four public buildings in remarkable detail. The majority of the buildings included in The Masterworks are still in use however several notable examples; Madison Square Garden, Penn Station, 4 pavilions at the World's Columbian Exposition, and Madison Square Presbyterian Church were demolished long ago.
The architects spared no expense when they created their masterworks and it is apparent that Rizzoli Publishing houses spared no expense in producing this lovely book. Contemporary colour photographs by Jonathan Wallen document the buildings as they are yesterday capturing the totality of their grandeur as well as their finest details. Fascinating archival photographs illustrate how the buildings appeared were when their doors very first opened. And almost every building profile is augmented with elevation drawings, sketches, watercolors, and other rare background material. An informative text accompanies each profile. It sheds light on the personalities of the architects, their sources of inspiration, the personalities who commissioned the buildings, and the times when they lived and worked.
Rated by buyers -
One of the most handsome books on architecture of recent years, beautifully written in a style that is concise without being in the least off-hand. You may find yourself mourning the passing of an age when so much distinguished architecture enhanced our cities, and mourning equally the fact of so much of it being taken for granted (and in many cases, heartlessly demolished)
One regrets, however, that the book's designers have gone the fashionable route of having its pages printed in a nearly matte-finish.
Rather than being the velvety ideal, here the photographs seem compromised by this technique. A good example is the photograph of the library at the University Club,( New York). What must be the most complexly rich and improbably Italianate room in North America comes off looking disapointingly murky and flat.( The author/photographer's previous book, Houses of Mc Kim Mead White, while employing the same approach, was rather better printed.)
But this is a quibble; the book is ravishing.
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