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(revised and updated from her 1996 book with new photos)
Fallingwater: A Frank Lloyd Wright Country House by Edgar Kaufmann, Jr.
Fallingwater Rising: Frank Lloyd Wright, E. J. Kaufmann, and America's Most Extraordinary House
by Franklin Toker
Fallingwater: The Building of Frank Lloyd Wright's Masterpiece
by Marc Harshman
Frank Lloyd Wright's Fallingwater: The House and Its History
by Donald Hoffmann
Frank Lloyd Wright’s Fallingwater: American Architecture in the Depression Era
by Catherine W Zipf
Frank Lloyd Wright's Fallingwater (Wright at a Glance Series)
by Carla Lind
Frank Lloyd Wright: Fallingwater (Global Architecture Traveler)
by Yukio Futagawa
Frank Lloyd Wrights Fallingwater
by Western Pennsylvania Conservacy
Wright Studies, Volume Two: Fallingwater and Pittsburgh (Wright Studies, Volume 2)
by Professor Narciso G. Menocal
Fallingwater: Frank Lloyd Wright
by Peter Cook
Global Architecture Frank Lloyd Wright Kaufmann House, "Fallingwater," Bear Run Pa. (1936)
by Paul Rudolph and Yukio Futagawa
Let me know if I missed any.
The earliest of the ones listed, dated 1965, a slender volume bound in rough cream cloth, many black-and-white and color photos. Texts by Bruno Zevi and Edgar Kaufmann, jr. Hopefully one could be found at a better price . . .
It should be noted that this is not a stand-alone book(let). It is a ...
"Reprint from issue n. 82 (August 1962)
of the monthly review <<L'Architetura -
cronache e storia>> Bruno Zevi editor -
ETAS s.p.a. Publishing Co.
Via Mantegna, 6, Milano, (Italy)."
If you could find a shop of old magazines, "L'Architetura" was sold in the US at one time.
McCarter's essay can be read in 30-45 min and it gives the conventional story with all the standard tales, yet breaks no new ground. However I did appreciate McCarters explaination of how Fallingwater fits into the larger body of Wright's work.
The book was "advertised" as heavy on technical drawings and explanations. This is simply not true.
Freehand painting of hard-edged geometric subjects, in perspective no less, is inherently illogical, not to say difficult and laborious to pull off. Many who work in this vein do so from photographs---a perfectly rational and effective means to an end. I guess the point of working from life would be to catch effects of light, nuances visible under certain circumstances and so forth; it is easy and rewarding to believe that intangibles---sounds, smells, feelings---can be captured by the inspired visual artist.
In any event, a productive compromise might be to prepare a scene on the canvas and even begin coloring it, before returning to the location and completing the work in situ. I think that's how I would want to proceed . . .
As a fundraiser for construction of the Barnsdall living room couches, Bruce Tunis produced an abstraction of the garden court stairs in blue and gray lithographs (23"x34").
Hugh Ferris, known for his charcoal drawings of buildings and cityscapes at night, especially his image of the newly-built Chicago Tribune Tower, made at least one image of T-West from the vantage point toward the end of the studio.
Architecture as art probably works best when focused on details. I have a poster of a single pillar from Unity Temple which is quite effective. I did a chiaroscuro of the Barnsdall hollyhock in the pillars flanking the living room/loggia doors that I like quite a lot.