Tracing the relationship between Abstract Expressionist artists and contemporary intellectuals, particularly the French existentialists, Nancy Jachec here offers a new interpretation of the success of America's first internationally recognized avant-garde art form. She argues that Abstract Expressionism was promoted by the United States government because of its radical character, which was considered to appeal to a Western European populace perceived by the State Department as inclined toward Socialism.

This is a critical edition of the art writings of the painter Paul Nash (1889-1946). Alongside the very different Wyndham Lewis, Nash was the only major British artist of his generation who was also a regular critic of, and essayist on, art. He knew and read the leading critics of his day, and evolved a distinctive position in relation to them. His relationship to British modernism and the mutual stimulus of art and criticism, the opening up of his criticism and that of others to poetic and literary influences under the influence of Surrealism is discussed by Andrew Causey.

This essay explores the development of Salvador Dali, from the early phases of childhood, the bizarre and complex aims of his first experiments, to his absorption into high society of Paris in the 1930s, and his inclusion in the Surrealist movement from 1928 to 1939. The essay focuses on the makeup of a provocative and original personality acutely reflexive, intelligent and pathologically driven. As a creative signifier of considerable and generative impact, Dali can be identified as a unique sounding board for his own and succeeding times.

From Paris to Stalingrad, the Nazis systematically plundered all manner of art and antiquities. But the first and most valuable treasures they looted were the Crown Jewels of the Holy Roman Empire. In "Hitler's Holy Relics, "bestselling author Sidney Kirkpatrick tells the riveting and never-before-told true story of how an American college professor turned Army sleuth recovered these cherished symbols of Hitler's Thousand-Year Reich before they could become a rallying point in the creation of a Fourth and equally unholy Reich.
Anticipating the Allied invasion of Nazi Germany, Reichsfuhrer Heinrich Himmler had ordered a top-secret bunker carved deep into the bedrock beneath Nurnberg castle. Inside the well-guarded chamber was a specially constructed vault that held the plundered treasures Hitler valued the most: the Spear of Destiny (reputed to have been used to pierce Christ's side while he was on the cross) and the Crown Jewels of the Holy Roman Empire, ancient artifacts steeped in medieval mysticism and coveted by world rulers from Charlemagne to Napoleon. But as Allied bombers rained devastation upon Nurnberg and the U.S. Seventh Army prepared to invade the city Hitler called "the soul of the Nazi Party," five of the most precious relics, all central to the coronation ceremony of a would-be Holy Roman Emperor, vanished from the vault. Who took them? And why? The mystery remained unsolved for months after the war's end, until the Supreme Allied Commander, General Dwight D. Eisenhower, ordered Lieutenant Walter Horn, a German-born art historian on leave from U.C. Berkeley, to hunt down the missing treasures.
To accomplish his mission, Horn must revisit the now-rubble-strewn landscape of his youth and delve into the ancient legends and arcane mysticism surrounding the antiquities that Hitler had looted in his quest for world domination. Horn searches for clues in the burnt remains of Himmler's private castle and follows the trail of neo-Nazi "Teutonic Knights" charged with protecting a vast hidden fortune in plundered gold and other treasure. Along the way, Horn has to confront his own demons: how members of his family and former academic colleagues subverted scholarly research to help legitimize Hitler's theories of Aryan supremacy and the Master Race. What Horn discovers on his investigative odyssey is so explosive that his final report will remain secret for decades.
Drawing on unpublished interrogation and intelligence reports, as well as on diaries, letters, journals, and interviews in the United States and Germany, Kirkpatrick tells this riveting and disturbing story with cinematic detail and reveals-- for the first time--how a failed Vienna art student, obsessed with the occult and dreams of his own grandeur, nearly succeeded in creating a Holy Reich rooted in a twisted reinvention of medieval and Church history.

Poised at the start of the 21st century, we can see clearly that the previous century was marked by momentous changes in the field of design. Aesthetics entered into everyday life with often staggering results. Our homes and workplaces turned into veritable galleries of style and innovation. From furniture to graphics, it's all here-the work of artists who have shaped and re-created the modern world with a dizzying variety of materials. From the organic to the geometric, from Art Deco, through to Pop and High-Tech, this book contains all the great names-Harry Bertoia, De Stijl, Dieter Rams, Philippe Starck, Charles and Ray Eames, to name only a very few. This essential book is a comprehensive journey through the shapes and colors, forms and functions of design history in the 20th century. An A-Z of designers and design schools, which builds into a complete picture of contemporary living. Lavishly illustrated, this is design in the fullest sense. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

The horror of the First World War brought out a characteristic response in a group of English artists, who resorted to black humour. Among these, John Hassall, a pioneering British illustrator and creator of the influential 'Skegness is so bracing' poster, holds a special place. Early in the war, he hit on the idea of drawing a parody of the Bayeux Tapestry to satirize German aggression and add to the growing genre of war propaganda. Taking the scheme of the famous tapestry which celebrates William the Conqueror's invasion of England, Hassall uses thirty pictorial panels to tell the story of Kaiser Wilhem II's invasion of Luxembourg and Belgium. In mock-archaic language he narrates the progress of the German army, never missing an opportunity to lampoon 'bad' behaviour: 'Wilhelm giveth orders for frightfulness.' The caricatured Germans loot homes, make gas from Limburg cheese and sauerkraut, drink copious amounts of wine and shamefully march through Luxembourg with 'women and children in front.' With comic inventiveness Hassall adapts the borders of the original to illustrate the stereotypical objects with which the English then associated their enemy: they are decorated with schnitzel, sausages, pilsner, wine corks and wild boar. Drawn with Hassall's distinctive flat colour and striking outlines, Ye Berlyn Tapestrie is a fascinating historical example of war-induced farce, produced by a highly talented artist who could not then have known that the war was set to last for another two years. Together with an introduction which sets out the historical background of its creation, every page of this rarely seen publication is reproduced here in a fold-out concertina, just like the original, to resemble the style of the Bayeux Tapestry.