Gold Medal, 98th Annual CAC annual Exhibition; President, California Art Club
Peter Seitz Adams (born August 27, 1950) is an American artist. His body of work focuses on landscapes and seascapes created en plein air in oil or pastel as well as enigmatic figure and still-life paintings. He is noted for his colorful, high-key palette and broad brushwork. Adams has held numerous solo and group exhibitions in galleries and museums, including throughout California, the Western United States, and on the East Coast in Philadelphia, Vermont, and New York.[1] Adams is the longest serving President of the California Art Club (f. 1909) [2][3] and has served on its board of directors in Pasadena, California from 1993 to 2018. He is also a writer on subjects relating to historic artists for the California Art Club Newsletter, as well as for a number of the organization's exhibition catalogs.[4]
Peter Adams' mother, Mary Seitz Adams (1917–2004), was a socially active homemaker and his father, James H. Adams, also known as Peter Adams, Sr., was a businessman by vocation, and an actor by avocation. Peter Adams, Sr. appeared in Hollywood epic films, such as Bullwhip, Omar Khayyam, The Big Fisherman, Jailhouse Rock and the television series Zorro. His maternal grandfather was the playwright and Hollywood movie director George B. Seitz (1888–1944). Adams has two older sisters, Mary Adams O’Connell, who is a businesswoman and Aileen Adams Cowan, who is a former Secretary of State for Consumer Affairs for the State of California and an Assistant Attorney General in the Clinton Administration.[5] Adams grew up in Beverly Hills and attended Harvard Boys School (now Harvard-Westlake School). He is married to Elaine Shelby (Shelbi) Adams, a former stockbroker who has managed the California Art Club in addition to Adams' career since 1993.[6] The Adams' live in a home that has been described as an eclectic mixture of Chinese furniture and Antiques, some significant works by his teacher Theodore Lukits as well as a broad selection of some of his own works chosen by his wife.[7] The Adams have constructed elaborate waterfalls and pools, as well as walls and walkways made of river stones around their Pasadena property. Peter Adams' studio features a high-pitched roof that allows him to work on large paintings and glassed shelves housing a collection of art books. He is an avid outdoorsman who hikes in the San Gabriel Mountains with his border collies and makes painting trips to the Sierra Nevada (U.S.). He is a public speaker and raconteur.[8]
Early art studies
Adams was initially drawn to traditional, representational art. As a young man, he collected adventure books from the "Golden Age" of American illustration. He credits these romantic tales, illustrated by artists like Howard Pyle, N.C. Wyeth and Dean Cornwell, with not only inspiring his art but interesting him in the world beyond the shores of America.[9] Adams wanted to learn how to paint like the turn-of-the-century painters did, but he couldn't keep up with the curriculum at the Instituto de Bellas Artes in San Miguel de Allende, Mexico (1969), Otis Art Institute and Art Center School (1970). In 1970 he was introduced to Theodore Lukits (1897–1992), a well-known painter of portraits, still lifes and landscapes who had been teaching in Los Angeles since 1924.[10]
Studies with Theodore Lukits
Peter Adams entered the atelier of Lukits in 1970. Adams has described entering the Lukits studio, which was lined with plaster casts of Roman and Greek sculpture, student’s drawings and Chinese antiques "like walking into another century” because the Lukits Atelier resembled those of the 19th-century Parisian painters' he admired.[11] Adams was to study with Lukits for seven years and eventually he became his apprentice, but like all of Lukits' new students, he began by "drawing from the antique," doing charcoal or graphite portraits of marbles and plaster casts of ancient Roman and Greek statuary. These studies taught Adams to understand the tonal gradations of light and shadow. Advancement in a traditional atelier is based on mastery, so Adams moved from working from plaster casts to simple still life set-ups only after his instructor was satisfied with his work.[12] As a culmination of his graphite work Adams did a series of fanciful still life drawings of Asian antiques that set the direction for the still life works of his professional career. Eventually, he began to work in color, painting still life set-ups under the colored lights that Lukits used to simulate conditions an artist might find in the outdoors. He subsequently attended Lukits' anatomy and life drawing classes. Adams also began painting “En plein air”, directly from the landscape. He painted with Arny Karl (1940–2000) a fellow Lukits student who had already been painting out of doors for a number of years. Using the pastel medium, the two went on plein air trips to the local foothills in the San Gabriel Mountains, beaches, and trips to St. Malo, near Oceanside, where the Adams family owned a beach house. Karl and Adams also made extended trips to the American and Canadian National Parks, traveling as far north as the Canadian Rockies. By the mid-1970s, they were joined by another fellow Lukits student, Tim Solliday (b. 1952).[13] Together, the three artists traveled and painted en plein air using the pastel medium, as their teacher Theodore Lukits had done in the 1920s and 1930s.[citation needed]
Professional career
Adams began painting professionally around 1980. He was first represented by the Greg Juarez Gallery in Beverly Hills. Run by the collector, philanthropist, and 9th-generation Californian Gregg Juarez, the Juarez Gallery represented Adams for a number of years. Next, he moved to the Adamson-Duvannes Gallery in West Hollywood, California. Jerome Adamson was an art collector who had purchased this historic gallery. He represented Adams for a number of years and mounted Adams' large exhibitions of works from Asia and Afghanistan.[14] In 1992, Adams began to exhibit his work with the Morseburg Galleries in West Hollywood. There he participated in a long series of group exhibitions which included the older painter Richard Rackus (b. 1922), as well as two of his friends from the Lukits Atelier, Arny Karl (1940–2000) and Tim Solliday (b. 1952). These exhibitions emphasized plein-air landscape painting. Adams participated in a number of pastel shows along with Solliday, Karl, Gil Dellinger, Rich Hilker and Clark Mitchell.[15] In 2003 his wife Elaine Adams opened American Legacy Fine Arts, a private art gallery developed on the first floor of Peter Adams’ studio and began promoting her husband’s work as well as other artists in Los Angeles.[16]
Artistic influences
Inspired by a broad spectrum of artists in the classical art tradition, however, Adams cites Theodore Lukits, his teacher and mentor, as providing him with the direct link to the art ateliers of Paris and to the 19th century academicians he admires, such as William-Adolphe Bouguereau (1825–1905) and Jean-Léon Gérôme (1824–1904). Like most Plein-Air painters he also cites the Spanish Impressionist Joaquin Sorolla (1863–1923) and the Swedish painter of figures in outdoor settings Anders Zorn (1860–1920) as having an impact on his work. However, in contrast to many painters steeped in the Plein-Air tradition, the course of Adams' life and career has been influenced by the Orientalists, the French, British and American painters who ventured to the Middle East in the 19th century, painting the "exotic" people who populated lands that were unfamiliar to them. He includes John Frederick Lewis (1804–1876) Sir David Roberts (1796–1864), Frederick Arthur Bridgman (1847-19280 and Edwin Lord Weeks (1849–1903) as painters who made him curious to explore remote lands and get to known distant peoples. Adams designs and constructs his paintings differently from most painters and he has been influenced in completely different ways by the English painter, illustrator, printmaker and muralist Sir Frank Brangwyn (1857–1956) and the Art Nouveau painter and muralist Alphonse Mucha (1860–1939). From Mucha, he learned about swirling, moving, compositions and curvilinear line. From Brangwyn he learned about the juxtaposition of interesting shapes.[citation needed]
Assessment and oeuvre
While Adams considers himself a traditionalist and a representational painter, he is considered to be an innovative colorist and because of his interest in unusual effects of light, natural wonders and underground geological formations.[17] Early in his career, his work consisted of Plein Air pastels and oils of the Eucalyptus trees, bridges and foothills around Pasadena. In addition, he created a series of beach scenes with figures centered on St. Malo Beach near Oceanside.[18] The works he created on his extended trips to Asia were primarily figurative in the quick-drying tempera media to sketch, later, completing a series of larger works for his exhibitions back in America. Art historian and former Chief Curator of the Southern Alleghenies Museum of Art, Michael Tomor, described Adams' pastel work in an essay for the exhibition Contemporary Romanticism: Landscapes in Pastel as being "Inspired by the brilliant colors, atmospheric perspective, and scenic grandeur of the great 19th century Romanticists, Peter Adams, a student of Theodore Lukits in the 1970s, conveys the magical shimmer of light in ephemeral sunsets and the tranquility of the sea."[19] As his teacher Lukits did in the 1920s, Adams painted in the Sierra Nevada (U.S.) during the summer and winter when atmospheric conditions were more intense. By the mid-1990s, while its origins remained out of doors, his work was becoming more stylized, showing the unmistakable influence of Art Nouveau. As he reached middle age, Adams began to do large works of unusual natural formations, geysers and pools in Yellowstone National Park or stalactites in Carlsbad Caverns in New Mexico.[20] In recent years he had returned to the human figure as a subject, often combining fantasy and reality in his works, as he has done in a series of recent works centered on the story of Wagner's Ring of the Nibelung and the Los Angeles Ring Festival mounted by the Los Angeles Opera.[21]
Revival of the California Art Club
By the early 1990s, Adams and his friends saw the need for an organization that could help to bring order to the reemerging traditional art movement in California. Adams accepted the Presidency of the California Art and he has remained at its helm to the present. In order to reorganize the California Art Club, Adams began to recruit most of the active professional landscape and figurative painters and sculptors that he knew. The core group of artists that became members of the reorganized California Art Club was primarily students of Theodore Lukits or the Russian landscape and figurative painter Sergei Bongart (1918–1985).
Organization of California Art Club special exhibitions
Under the leadership of Peter Adams and his wife, Elaine Adams, the California Art Club began organizing a series of thematic exhibitions at both art and natural history museums. The Adams' saw that there was a natural relationship between landscape art and ecological awareness and natural history.[22] In 1996, the California Art Club organized the California Wetlands Exhibition at the Natural History Museum in historic Exposition Park in Los Angeles. In May through August 1998, the California Art Club mounted Treasures of the Sierra Nevada at the Natural History Museum of Los Angeles County, featuring works by historic California artists including Edgar Alwin Payne (1883–1947), Jack Wilkinson Smith and Theodore Lukits as well as contemporary painters.[23] The Carnegie Museum in Oxnard, California hosted a large exhibition of works by painters from the California Art Club in 1994 titled The California Art Club: 85 Years of Art where Adams' work was featured prominently.[24] In 1997 Peter and Elaine Adams and the California Art Club organized a traveling exhibition which contrasted the work of American Impressionists and Classical Realist painters from the East Coast and the Midwest United States with the California Impressionists. Titled East Coast Ideals, West Coast Concepts, the exhibition traveled from the Carnegie Museum in Oxnard to the Springville Museum of Art in Springville, Utah to the Academy of Art College in San Francisco. Among the historic artists represented were William McGregor Paxton and R.H.Ives Gammell (1893–1981), representing the Boston School and Theodore Lukits and Maurice Braun (1877–1941) representing the California Impressionists.[25] In 1999, the California Art began a long relationship with the Frederick R. Weisman Museum of Art at Pepperdine University in Malibu with the exhibition titled On Location in Malibu. The exhibition, organized and curated by the Weisman's Michael Zakian, ran from May 22 to August 7, featuring the work of Adams along with dozens of CAC painters.[26]
In 2007 he received a Gold Medal in the California Art Club Gold Medal Exhibition, and in 2004 he was nominated for Visual Artist of the Year by the International Biographical Center, Cambridge, England.
In addition to his affiliation with the California Art Club, Adams has served on the boards of the American Society of Classical Realism, American Society of Portrait Artists, and served several years on the board of directors of the Pacific Asia Museum and the Pasadena Museum of California Art. Adams is a Signature Member of the California Art Club, Oil Painters of America, Pastel Society of America, and the Plein Air Painters of America.
En plein air, or plein-air painting, is the act of painting outdoors.
American Impressionism was a style of painting related to European Impressionism and practiced by American artists in the United States from the mid-nineteenth century through the beginning of the twentieth. The style is characterized by loose brushwork and vivid colors with a wide array of subject matters but focusing on landscapes and upper-class domestic life.
Alson Skinner Clark was an American Impressionist painter best remembered for his landscapes. He was also a photographer, plein aire painter, art educator and muralist.
Soren Emil Carlsen was an American Impressionist painter who emigrated to the United States from Denmark. He became known for his still lifes. Later in his career, Carlsen expanded his range of subjects to include landscapes and seascapes as well.
Robert William Wood was an American landscape painter. He was born in England, emigrated to the United States and rose to prominence in the 1950s with the sales of millions of his color reproductions. He was active in the art colonies of San Antonio, Texas in the 1930s, Monterey, California in the 1940s and Laguna Beach in the 1950s.
The California Art Club (CAC) is one of the oldest and most active arts organizations in California. Founded in December 1909, it celebrated its centennial in 2009 and into the spring of 2010. The California Art Club originally evolved out of The Painters Club of Los Angeles, a short-lived group that lasted from 1906–09. The new organization was more inclusive, as it accepted women, sculptors and out-of-state artists.
Theodore Nikolai Lukits was a Romanian American portrait and landscape painter. His initial fame came from his portraits of glamorous actresses of the silent film era, but since his death, his Asian-inspired works, figures drawn from Hispanic California and pastel landscapes have received greater attention.
Arny Karl was one of the key artists in the early stages of the California Plein-Air Revival, which started in the 1980s and continues to this day. Along with Tim Solliday and Peter Seitz Adams, Karl helped revitalize the use of pastels to paint outdoors or en plein air, as the French described regarding the practice of working directly from nature. Karl was a student of Theodore Lukits (1897–1992), who was a prominent California Impressionist and the best known Early California painter to have worked in pastel. His work has been included in a number of museum exhibitions, is represented in a number of prominent public and private collections and has been the subject of a number of curatorial essays.
The terms California Impressionism and California Plein-Air Painting describe the large movement of 20th century artists who worked out of doors, directly from nature in California, United States. Their work became popular in the San Francisco Bay Area and Southern California in the first three decades after the turn of the 20th century. Considered to be a regional variation on American Impressionism, the California Impressionists are a subset of the California Plein-Air School.
Victor Stanley Matson (1895–1972) was an American artist representative of the California Plein-Air school of painting. He was active from the 1920s until his death. An active organizer for several Southern California arts organizations, he served as president of the historic California Art Club from 1961 to 1962. His work was widely exhibited with the Southland art clubs in an era when few galleries were interested in Plein-Air landscapes and he had a solo exhibition at Los Angeles City Hall in 1964.
Christian von Schneidau (1893–1976) was a well known California portrait painter who was recognized for his paintings of Hollywood stars and the Los Angeles elite. During the Roaring Twenties he painted Mary Pickford and other figures from the film industry as well as a number of outdoor figures done in the classic American Impressionist manner. Von Schneideau was born in Ljungby, Kalmar County, Sweden 1893, with the name Bror Christian Valdemar Von Schneidau, but went by the shortened Christian von Schneidau. In addition to his portraiture, von Schneidau was also a landscape painter and a private teacher who passed on the French principles of instruction, which he learned at the Art Institute of Chicago to his students. Von Schneidau was also the founder of the Scandinavian-American Art Society in 1938 and served as its president for many years. He was also an active member of the California Art Club.
Tim Solliday is an American painter. He studied with the California Impressionist portrait and landscape painter Theodore Lukits (1897–1992) in the 1970s and began working professionally in the early 1980s. Solliday is described as a painter with a "muscular, masculine style" and has been compared to artists of the Taos Ten, especially E. Martin Hennings. He is a Signature Member of the California Art Club. He exhibits with the Laguna Plein-Air Painters Association, the Oil Painters of America and at the Maynard Dixon Invitational, which is held in Utah each year. Solliday's work has been featured in a number of American art magazines such as Southwest Art, American Artist and Art of the West. Through his plein-air work in the pastel medium and large canvasses, he has played an important role in the revival of landscape painting in Southern California.
Tonal Impressionism was an artistic style of "mood" paintings with simplified compositions, done in a limited range of colors, as with Tonalist works, but using the brighter, more chromatic palette of Impressionism. An exhibition titled "Tonal Impressionism" was curated by the art historian Harry Muir Kurtzworth for the Los Angeles Art Association Gallery at the Los Angeles Central Library in June 1937 with the works of a number of prominent California artists. In recent years, the term has also been used to describe a non-linear approach to painting where the subject is massed in with tonal values without the use of underdrawing.
California Tonalism was art movement that existed in California from circa 1890 to 1920. Tonalist are usually intimate works, painted with a limited palette. Tonalist paintings are softly expressive, suggestive rather than detailed, often depicting the landscape at twilight or evening, when there is an absence of contrast. Tonalist paintings could also be figurative, but in them, the figure was usually out of doors or in an interior in a low-key setting with little detail.
Richard E. Miller was an American Impressionist painter and a member of the Giverny Colony of American Impressionists. Miller was primarily a figurative painter, known for his paintings of women posing languidly in interiors or outdoor settings. Miller grew up in St. Louis, studied in Paris, and then settled in Giverny. Upon his return to America, he settled briefly in Pasadena, California and then in the art colony of Provincetown, Massachusetts, where he remained for the rest of his life. Miller was a member of the National Academy of Design in New York and an award-winning painter in his era, honored in both France and Italy, and a winner of France's Legion of Honor. Over the past several decades, he has been the subject of a retrospective exhibition and his work has been reproduced extensively in exhibition catalogs and featured in a number of books on American Impressionism.
Decorative Impressionism is an art historical term that is credited to the art writer Christian Brinton, who first used it in 1911. Brinton titled an article on the American expatriate painter Frederick Carl Frieseke, one of the members of the famous Giverny Colony of American Impressionists, "The Decorative Impressionist."
Armand Cabrera is an American oil painter recognized for his en plein air landscape art, seascapes, cityscapes, still lifes and figurative works. He is also well known as a game art designer who has delivered over 25 shipped games as a Lead and Senior Artist. His clients include Lucasfilm Games, Disney, Electronic Arts, Virgin Entertainment, Nickelodeon, Microsoft and Paramount Pictures.
Kevin A. Short is an American painter and printmaker, recognized for his modern landscapes of the Pacific Coast and American Southwest. He is considered an integral observer and portrayer of the surfing subculture. His use of heavy brushstrokes and vivid pigments are a recognizable trademark of his painting style.
Karl Dempwolf is a contemporary California Plein-Air Painter who is known for his California Landscapes. He is a Signature Member of the California Art Club, and serves in its Advisory Board of Directors.
Contemporary-Traditional Art refers to an art produced at the present period of time that reflects the current culture by utilizing classical techniques in drawing, painting, and sculpting. Practicing artists are mainly concerned with the preservation of time-honored skills in creating works of figurative and representational forms of fine art as a means to express human emotions and experiences. Subjects are based on the aesthetics of balancing external reality with the intuitive, internal conscience driven by emotion, philosophical thought, or the spirit. The term is used broadly to encompass all styles and practices of representational art, such as Classicism, Impressionism, Realism, and Plein Air painting. Technical skills are founded in the teachings of the Renaissance, Academic Art, and American Impressionism.
References
↑ See the comprehensive list of museum and gallery exhibitions listed below, gleaned from web sources. See also John Hazelton's TFAOI, Traditional Fine Arts Organization online resource for museum previews and reviews.
↑ See CAC website for listings of newsletter issues and contents.
↑ See Southwest Blue Book, The Original Society Register of Southern California, 1997, p. 10 for family prominence and relationships.
↑ See Southwest Blue Book for marriage, CAC website for Elaine Adams' role in organization.
↑ Danny Medina, Art Talk, September 1997, describes the Adams' home and lifestyle
↑ Eric Rhodes, A Visit with Peter Adams, Plein-Air Magazine, September 2004, Article discusses the Adams' lifestyle
↑ This affection for illustrators is seen frequently in articles on Adams and he mentions his teacher's admiration for them in The Pastels of Theodore Lukits, exhibition catalog, Carnegie Art Museum (1998) p. 4-5.
↑ All the annual CAC Gold Medal Exhibition catalogs list this relationship, 1999-2010; see list of these catalogs and exhibitions below.
↑ Suzanne Bellah, The Pastels of Theodore Lukits exhibition catalog (1991), Adams' essay "Recollections" covers his reactions to meeting Lukits for the first time, p.4-5
↑ Adams covers these methods at some length in his "Recollections" in The Pastel Landscapes of Theodore Lukits exhibition catalog. P.4-5
↑ See Arny Karl.Org website and Michael Tomor's essay in the Contemporary Romanticism catalog
↑ See list of exhibitions below and gallery representation.
↑ These exhibitions are listed below, gleaned from web sources.
↑ See American Legacy Fine Arts website list of artists and images
↑ See paintings exhibited in the Autry Museum's Masters of the West annual exhibition
↑ brochures for Juarez Gallery exhibitions, exhibition brochures from Adamson-Duvannes Gallery
↑ The Wagner's Ring project of the California Art Club is written about extensively on the CAC web site
↑ Donald Haggerty, Leading the West, p.48-49, Haggerty describes Adams as part of a group of "environmentally conscious artists."
↑ Jean Stern, Treasures of the Sierra Nevada exhibition catalog, Natural History Museum of Los Angeles County, 1997. Soft-bound catalog has images and entries for these artists and essay.
↑ Suzanne Bellah curated this exhibition listed below.
↑ East Coast Ideals, West Coast Concepts exhibition catalog, California Art Club, p. 6-61, Catalog features essays on both movements and images, Adams' work among them.
↑ Exhibition listed below, see also Michael Zakian, On Location in Malibu, California Art Club and Frederic R. Weisman Museum of Art exhibition catalog, 1999.
Further reading
Bellah, Suzanne, Adams, Peter & Solliday, Tim, The Pastels of Theodore Lukits, Exhibition Catalog, Carnegie Museum, Oxnard, California, 1991 (articles on Lukits and his teaching by Bellah from the Carnegie as well as Adams and fellow student Tim Solliday)
Rice, Ruth, Melding Two Into One, Art Exhibition Combines Pastels and Watercolors, The Tribune Democrat, Johnstown, Pennsylvania, April 8, 2008 (article on Southern Alleghenies Museum of Art Exhibition, From Charles Burchfield to Peter Adams)
Rhoads, Eric B., A Visit with Peter Adams, Plein-Air Magazine, San Francisco, California, September 2004
Rhoads, Eric B., Imagination at Work, Plein-Air Magazine, san Francisco, California, September 2004
Firestone, Caroline, Afghanistan Evolving, Published by Caroline Hudson Firestone, 2004 (book with cover illustration by Adams)
Soderberg, Paul, Peter and Elaine Adams: The Art Bridge Builders of California, Art Talk, March 2004
Stern, Jean, Rose, Roy, Siple, Molly, Enchanted Isle: A History of Plein Air Painting in Santa Catalina Island, Society for Advancement of Plein-Air Painting, 2003
Schaber, Greg, A Passion for Plein Air: Peter Adams, The Artist’s Magazine, New York, New York, May 2002
Leigh, Catesby, Teaching Tradition, The American Enterprise Magazine, Washington, D.C., January/February 2002
Cuba, Stanley, Reuniting Humanity with Nature, Art of the West Magazine, March, April 2002
Stavig, Vicki, Peter Adams: The Studio, Art of the West Magazine, November 1998 (article on Adams' elaborate studio)
Morseburg, Jeffrey: Peter Adams, Unpublished Biographical Essay, West Hollywood, California, 1998
Medina, Danny, Carrying on a Golden Tradition, Art Talk, Scottsdale, Arizona, September 1997 (article on Adams and his wife)
Price, Linda, On Location with Peter Adams, American Artist Magazine, New York, New York, July 1997
Haggerty, Donald J., Leading the West: One Hundred Contemporary Painters and Sculptors, Flagstaff, Arizona; Northland Publishing, 1997 (book with essays on 100 contemporary American artists from the western United States)
Adams, Peter, Peter Adams: Eastern Exposure, Southwest Art Magazine, Houston, Texas, May 1996 (feature article)
Fitzgerald, Paula, In the Shadows of the Himalayas, Designer's West Magazine, Los Angeles, California, March 1989 (feature article)
Moure, Nancy, Impressions of California: Early Currents in Art 1850-1930, (Essay on the California Art Club), The Irvine Museum, 1996
Morseburg, Jeffrey, Theodore Lukits, Part I, California Art Club Newsletter, Pasadena, California, October 1998
Morseburg, Jeffrey, Theodore Lukits, Part II, California Art Club Newsletter, Pasadena, California, December 1998
Morseburg, Jeffrey, Theodore Lukits, Catalog Essay Manuscript for Jonathan Art Foundation, Los Angeles, California, 2010
Morseburg, Jeffrey, The Return of the California Impressionists, Art of California, Unpublished Manuscript, 2010
Tomor, Michael, Ph.D., Contemporary Romanticism: Landscapes in Pastel, Southern Alleghenies Museum of Art, Loretto, Pennsylvania, April 4-May 30, 1999, Exhibition Catalog
Lukits, Lucile, Lukits Academy Tuition Book, 1970s
Stern, Jean, Treasures of the Sierra Nevada, Natural History Museum of Los Angeles County, Exhibition Catalog, California Art Club, Pasadena, California, 1998 (reproductions of Adams' painting)
Adams, Peter & Adams Elaine, East Coast Ideals, West Coast Concepts, Carnegie Museum, Oxnard, California Introduction by Suzanne Bellah, Exhibition Catalog, California Art Club, Pasadena, California, 1997 (biographical essay and reproduction in exhibition catalog)
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