The Louvre Abu Dhabi's exciting exhibition programme explores the enduring dialogue between Eastern and Western artistic expression. Abstraction and Calligraphy brings together a rich array of works, from 10th-century ceramics from Samarkand to paintings and drawings by Kandinsky, Matisse, Miro, Twombly and other modern masters. The ways in which these artists respond to Eastern calligraphic traditions enriches our understanding of the dynamic between modern art in the West and long-established forms from Asia and the Near East. Text in French.

An exploration of women's contribution to visual culture in major Western urban centers, this collection also sheds new light on women's relationships with the processes of modernism and modernization. The essays in this volume analyze women's work in a variety of mediums, including design, print, illustration, murals, poster art, costume design, and film as well as more conventional forms of painting and sculpture in the interwar period (1918-1939). International in scope, the volume discusses artists and exhibitions from the United Kingdom, Greece, Mexico, France, Ireland, and the United States. The contributors place a strong emphasis on archival research yet each addresses contemporary concerns in feminist art history. By focusing on a very specific time period, the essays place a central concern on the history and theory of art and gender and are united by their coherent focus on women's role in the agency and mediation of artistic production between the wars.

Enchanted Ground is about the challenge to modernist criticism by Surrealist writers-mainly Andre Breton but also Louis Aragon, Pierre Mabille, Rene Magritte, Charles Estienne, Rene Huyghe and others-who viewed the same artists in terms of magic, occultism, precognition, alchemy and esotericism generally. It introduces the history of the ways in which those artists who came after Impressionism-Paul Cezanne, Pierre-Auguste Renoir, Georges Seurat, Paul Gauguin, Vincent van Gogh-became canonical in the 20th century through the broad approaches we now call modernist or formalist (by critics and curators such as Alfred H. Barr, Roger Fry, Robert Goldwater, Clement Greenberg, John Rewald and Robert L. Herbert), and then unpacks chapter-by-chapter, for the first time in a single volume, the Surrealist positions on the same artists. To this end, it contributes to new strains of scholarship on Surrealism that exceed the usual bounds of the 1920s and 1930s and that examine the fascination within the movement with magic.

Angry, outrageous, defiant, and courageous are some of the words that describe the American Abstract Expressionist artist Lee Krasner (1908-1984) - the subject of this very personal memoir inspired by Ruth Appelhof's 1974 summer with her in East Hampton, Long Island. Best remembered by many as Jackson Pollock's widow, she is regarded more by 'art-world insiders' as the producer of a major body of work that influenced the evolution of contemporary art - in particular, that made by women in the 20th and 21st centuries. As a scholar and a friend, Appelhof re-examines Krasner's contributions in light of the intellectual and emotional experiences that she so candidly shared with her in weeks of interviews. In addition, Appelhof explores Lee Krasner's relationships with others - friends, art-world luminaries, artists, and other 'summer sitters' allowed into her private sanctuary - through interviews. Those recollections will offer a window into the artist's intense and idiosyncratic personal life as well as into her contributions through the groundbreaking work she produced over the course of more than six decades. Contents: Prefaces by Helen Harrison, Director of the Pollock-Krasner House and Study Center, and Barbara Rose, Art Historian and Critic; Chapter 1: Driving Ms. Krasner; Chapter 2: The Tapes: Fact or Fiction; Chapter 3: Cards on the Table; Chapter 4: Swing of the Pendulum; Chapter 5: Summer Sitters; Chapter 6: In Spite of Herself. Published to accompany the Lee Krasner Retrospective at the Barbican Art Gallery, London, fromThursday 30 May-Sunday 1 September 2019, and at Schirn Kunsthalle, Frankfurt, from Thursday 10 October 2019-Sunday 12 January 2020, and at Zentrum Paul Klee, Bern, from Friday 7 February-Sunday 10 May 2020, and at the Guggenheim Bilbao, from Friday 29 May-Sunday 6 September 2020.

No other art movement in history has contained two artists as different as Magritte and Miro. This is because Surrealism was not in origin an art movement, but a philosophical strategy. It was a way of life - a rebellion against the establishment that had given the world the hideous slaughter of the First World War. Instead of trying to analyse the work of the Surrealists, bestselling author and Surrealist artist Desmond Morris concentrates on them as people - as remarkable individuals. What were their personalities, their predilections, their character strengths and flaws? Did they enjoy a social life or were they loners? Were they bold eccentrics or timid recluses? Drawing on the author's personal knowledge of the Surrealists, this book captures their life histories, idiosyncrasies and often-complex love lives, vividly illustrated with images of the artists and their works. The arts of Surrealism were both spectacular and international, shaped by the darkest, most irrational workings of the unconscious. Shocking, witty and always entertaining, Morris' tales illuminate the striking variation in approaches to the Surrealist philosophy, both in the artist's work and in their lives.

The Hungarian-born French painter Simon Hantai (1922-2008) is best known for abstract, large-format works produced using pliage: the painting of a crumpled, gathered, or systematically pleated canvas that the artist then unfolds and stretches for exhibition. In her study of this profoundly influential artist, Molly Warnock presents a persuasive historical account of his work, his impact on a younger generation of French artists, and the genesis and development of the practice of pliage over time. Simon Hantai and the Reserves of Painting covers the entirety of Hantai's expansive oeuvre, from his first aborted experiments with folding around 1950 to his post-pliage experiments with digital scanning and printing. Throughout, Warnock analyzes the artist's relentlessly searching studio practice in light of his no less profound engagement with developments in philosophy, psychoanalysis, and critical theory. Engaging both Hantai's art and writing to support her argument and paying particular attention to his sustained interrogation of religious painting in the West, Warnock shows how Hantai's work evinces a complicated mixture of intentionality and contingency. Appendixes provide English translations of two major texts by the artist, "A Plantaneous Demolition" and "Notes, Deliberately Confounding, Accelerating, and the Like for a 'Reactionary,' Nonreducible Avant-Garde." Original and insightful, this important new book is a central reference for the life, art, and theories of one of the most significant and exciting artists of the twentieth century. It will appeal to art historians and students of modernism, especially those interested in the history of abstraction, materiality and Surrealism, theories of community, and automatism and making.

This fiery and influential book, available for the first time in English, presents an Italian Futurist's radical ideas about art and architecture Futurist Painting Sculpture (Plastic Dynamism), a truly radical book by Umberto Boccioni (1882-1916), claimed a central position in artistic debates of the 1910s and 1920s, exerting a powerful influence on the Italian Futurist movement as well as on the entire European historical avant-garde, including Dada and Constructivism. Today, Boccioni is best known as an artist whose paintings and sculptures are prized for their revolutionary aesthetic by American and European museums. But Futurist Painting Sculpture demonstrates that he was also the foremost avant-garde theorist of his time. In his distinctive, exhilarating prose style, Boccioni not only articulates his own ideas about the Italian movement's underpinnings and goals but also systematizes the principles expressed in the vast array of manifestos that the Futurists had already produced. Featuring photographs of fifty-one key works and a large selection of manifestos devoted to the visual arts, Boccioni's book established the canon of Italian Futurist art for many years to come.First published in Italian in 1914, Futurist Painting Sculpture has never been available in English-until now. This edition includes a critical introduction by Maria Elena Versari. Drawing on the extensive Futurist archives at the Getty Research Institute, Versari systematically retraces, for the first time, the evolution of Boccioni's ideas and arguments; his attitude toward contemporary political, racial, philosophical, and scientific debates; and his polemical view of Futurism's role in the development of modern art.

William Turnbull (1922-2012) stands as one of Britain's foremost artists in the second half of the twentieth century. Both a sculptor and a painter, he explored the changing contemporary world and its ancient past, actively engaging with the shifting concerns of British, European and American artists. Presenting interpretations of Turnbull's work from an impressive roll-call of over sixty art historians, curators, critics and artists, a picture emerges of an innovative artist who determinedly followed his own path, drawing on influences as diverse as ancient cultures and contemporary music. Expansive in its breadth, William Turnbull: International Modern Artist will stand as the authoritative book on this fascinating artist. With contributions by Oliva Bax, Paul Becker, Andrew Bick, Antonia Bostroem, Mel Brimfield, Bianca Chu, Matthew Collings, Ann Compton, Sam Cornish, Keith Coventry, Elena Crippa, Amanda A. Davidson, Michael Dean, John Dee, Richard Demarco, Edith Devaney, Norman Dilworth, Patrick Elliott, Ann Elliott, Garth Evans, Pat Fisher, Neil Gall, Margaret Garlake, Antony Gormley, Kirstie Gregory, Kelly Grovier, Nigel Hall, Bill Hare, Daniel F. Herrmann, Peter Hide, Ben Highmore, Nick Hornby, Tess Jaray, Julia Kelly, Phillip King, Liliane Lijn, Clare Lilley, Jeff Lowe, Tim Martin, Ian McKeever, Henry Meyric Hughes, Catherine Moriarty, Richard Morphet, Jed Morse, Peter Murray, Matt Price, Peter Randall-Page, Guggi Rowen, Natalie Rudd, Michael Sandle, Dawna Schuld, Sean Scully, Jyrki Siukonen, Chris Stephens, Peter Suchin, Marin R. Sullivan, Mike Tooby, William Tucker, Johnny Turnbull, Alex Turnbull, Michael Uva, Brian Wall, Nigel Walsh, Calvin Winner, Jon Wood, Bill Woodrow, Greville Worthington, Emily Young

In recent years Eric Ravilious has become recognized as one of the most important British artists of the 20th century, whose watercolours and wood engravings capture an essential sense of place and the spirit of mid-century England. What is less appreciated is that he did not work in isolation, but within a much wider network of artists, friends and lovers influenced by Paul Nash's teaching at the Royal College of Art - Edward Bawden, Barnett Freedman, Enid Marx, Tirzah Garwood, Percy Horton, Peggy Angus and Helen Binyon among them. The Ravilious group bridged the gap between fine art and design, and the gentle, locally rooted but spritely character of their work came to be seen as the epitome of contemporary British values. Seventy-five years after Ravilious's untimely death, Andy Friend tells the story of this group of artists from their student days through to the Second World War. Ravilious & Co. explores how they influenced each other and how a shared experience animated their work, revealing the significance in this pattern of friendship of women artists, whose place within the history of British art has often been neglected. Generously illustrated and drawing on extensive research, and a wealth of newly discovered material, Ravilious & Co. is an enthralling narrative of creative achievement, joy and tragedy.

Although Piet Mondrian (1872-1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Mondrian, cofounder of the De Stijl movement in the Netherlands, called for a strict reduction of visual language to orthogonal composition and primary colors, which met with great approval in Bauhaus circles. His rigorous geometric compositions of verticals and horizontals and strident palette of essential colors were important to numerous Bauhaus masters; Mondrian's influence appeared in Bauhaus architecture, product design, typography, graphic design, painting and beyond. It is therefore not surprising that Mondrian's essays on art theory, most of them written for the De Stijl journal, were translated into German and published as number five in the Bauhausb cher series. New Design starts with a philosophical foray into art, which Mondrian describes as a figurative expression of human existence--an expression which will find its natural conclusion in his own concept of a "New Design." Mondrian then considers the relationship between painting and architecture and dares to take a far-reaching look at the future of Neoplasticism, which he imagines revolutionizing design and architecture around the world. Harry Holtzman's renowned translations of Mondrian's selected essays appear in New Design as a complete compilation for the first time. The publication is true to the content and design of the German first edition of 1925 and includes a brief scholarly commentary.

As heard on BBC Radio 4's 'A Good Read' 'Where and how Dada began is almost as difficult to determine as Homer's birthplace', writes Hans Richter, the artist and film-maker closely associated with this radical movement from its earliest days. Here, he records and traces Dada's history, from its inception in wartime Zurich, to its collapse in Paris in the 1920s when many of its members were to join the Surrealist movement, to its reappearance in the 1960s in movements such as Pop Art. This absorbing eyewitness narrative is enlivened by extensive use of Dada documents, illustrations and texts by fellow Dadaists. The complex personalities, relationships and contributions of, among others, Hugo Bali, Tristan Tzara, Picabia, Arp, Schwitters, Hausmann, Duchamp, Ernst and Man Ray, are vividly brought to life. Over a hundred years on from the riotous inception of Dada at the Cabaret Voltaire in Zurich in 1916, art historian Michael White provides a new introduction and commentary to a book that has become a legend in its own right, influencing a generation of performers and artists since its first publication in 1965 - David Bowie even quoted from Dada: Art and Anti-Art in his Scary Monsters album. Michael White has unearthed Richter's private correspondence with his fellow Dada artists to tell the story of how the book came about and, using previously unseen archive sources, enables us to read between the lines and discover the truth behind this most elusive of art movements.

With the artist Jana Schroeder, the Kopfermann-Fuhrmann Foundation is opening an exhibition series curated by Benjamin-Novalis Hofmann, which will feature presentations with women painters of the younger generation. The individual artistic positions are each based on an outstanding idea of abstract painting in the 21st century. With regard to her works, Schroeder herself speaks of an "aesthetics of doodling". Her works are characterised by lines that sometimes seem to dissolve, then again condense into tight and finely rhythmic webs. The series of works, always conceived as a series, have a palpable physical reference to space and time, are expressions of individual gestures and movements. The catalogue shows works from the past 10 years and includes an extensive interview with the artist. Text in English and German.

Painting and Understanding Abstract Art is a practical book on how to paint abstracts but it also explains how to approach and understand abstract art. It moves the teaching of art from a doing level of painting a certain subject in a particular medium to a thinking level of 'what am I doing when I paint?' and 'what am I trying to say in this painting?' Using practical exercises with explanatory text, John Lowry develops the thinking and doing processes together and leads the reader to a greater understanding and appreciation of this most exciting art genre. Advice on moving from figurative painting towards abstraction Tools to abstraction explained - simplifying and exaggerating; eliminating curves and straights; changing colours, lines and items ; emphasising positive and negative shapes; and using contrast Practical exercises to help develop your own style and understand the techniques of the masters Overview of the lives and times of artists involved in the stage-by-stage evolution from realism to abstraction

One May night in 1922, in a grand hotel in Paris, five of the greatest artists of the twentieth-century sat down to supper. It would be the only time that novelists Joyce and Proust, the young painter Picasso, choreographer Diaghilev and the composer Stravinsky were in a room together. Each of these exponents of early twentieth-century modernism was at the peak of his creative powers, and of all of them, Proust was enjoying the most spectacular success. Yet within six months he would be dead. "A Night at the Majestic" evokes the luxury and glamour of early-twentieth-century Paris, the intellectual achievement of the modernist movement and the gossip, intrigue and scandal of aristocratic France.

Charles Le Brun's drawing manual on human emotions has been used for centuries by artists and students as a model for depicting facial expressions. In David Schutter's work, Le Brun's manual is set to a different direction--a series of abstract drawings recalling vestiges of the human face animated by emotion. But Schutter's drawings are neither copies nor portraiture. Rather, they are reflections on how Lebrun's renderings were made. Collected here, Schutter's work recreates not the subject matter but the very values of Lebrun's drawings--light, gesture, scale, and handling of materials. The cross-hatching in the original was used to make classical tone and volume, in Schutter's hand the technique makes for unstable impressions of strained neck and deeply furrowed brow, or for drawing marks and scribbles unto themselves. As such, these drawings end up denying a neat closure--unlike their academic source material--and render unsettling states of mind that require repeated viewing. Accompanied by essays from art critic Barry Schwabsky and Neubauer Collegium curator Dieter Roelstraete, The Escape will appeal to students, critics, and admirers of seventeenth-century, modern, and contemporary art alike.

One of Poland's most important and independent postwar artists, Andrzej Wroblewski (1927-57) in his short life created his own highly individual, suggestive, and prolific form of abstract and figurative painting that continues to inspire artists today. This volume offers a stunning presentation and thorough re-evaluation of his work and its legacy in the international context of art history. Offering an insightful picture of the world of postwar painting in communist Europe, and highlighting Wroblewski's political engagement, the book helps us to understand the immensely evocative vision of war and oppression that he created. This close look at a painter and a period that are of growing interest for international art historians will serve to further cement Wroblewski in the postwar pantheon.

The essential introduction to the life and work of Jackson Pollock, the pioneering Abstract Expressionist painter.

Remains-Tomorrow: Themes in Contemporary Latin American Abstraction offers a thought-provoking perspective on the dynamic field of contemporary abstraction in Latin America. It proposes abstraction as an expanded field of reality in direct dialogue with life and as a strategy for critically examining the social, political, and cultural arenas. Highlighting 280 artists, the book explores different manifestations of post 90s Latin American abstraction, underlining its relationships to and differences from modern abstraction, and examines how it may relate to issues such as gender, interculturality, contextual specificity, popular culture, and the everyday. The book is structured by theme; it includes essays by Cecilia Fajardo-Hill and a historical essay by Juan Ledezma, as well as 28 short texts by participating artists. The publication contains biographies and over 700 illustrations. Remains-Tomorrow is an Abstraction in Action initiative of the Sammy Sayago Collection.

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!

A completely new way of looking at and understanding Surrealism, with a focus on the worldwide sweep of the movement "The variety of discoveries, detailed with exceptional scholarship in a ravishing keeper of a catalogue, defeat generalization."-Peter Schjeldahl, New Yorker This groundbreaking book challenges conventional narratives of Surrealism, tracing its impact and legacy from the 1920s to the late 1970s in places as diverse as Colombia, Czechoslovakia, Egypt, Japan, Mexico, the Philippines, Romania, Syria, Thailand, and Turkey. In doing so, it presents a more inclusive and accurate understanding of the fundamentally international character and lasting significance of the revolutionary artistic, literary, and philosophical movement. Vibrantly illustrated with more than 300 works of art by both well-known figures-including Dali, Ernst, Kahlo, Magritte, and Miro-and numerous underrepresented artists, this expansive book pushes beyond the borders of history, geography, and nationality to provocatively redraw the map of the Surrealist movement, investigating how its visual languages, ideals, theories, and practices were framed or reframed in contexts far from its Parisian origins. Contributions from more than 40 distinguished international scholars explore themes such as the channels used to transmit ideas; artists' responses to the challenges of political oppression, social unrest, and the effects of colonialism; and experiences of displacement and exile in the twentieth century. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 4, 2021-January 30, 2022) Tate Modern, London (February 25-August 29, 2022)

The essential five-volume resource on the painting and sculpture of one of the world's foremost contemporary artists For more than 60 years, Jasper Johns (b. 1930) has remained a singular figure in contemporary art. His most widely influential work-depictions of everyday objects and signs such as flags, targets, flashlights, and lightbulbs-helped change the face of the art world in the 1950s by introducing subject matter that stood in contrast to the prevailing style of Abstract Expressionism. In subsequent decades, Johns's art has increasingly engaged issues of memory and mortality, often incorporating references to admired artistic predecessors. This definitive 5-volume catalogue raisonne documents the entire body of painting and sculpture made by Johns from 1954 through 2014, encompassing 355 paintings and 86 sculptures. Each work is illustrated with a full-page reproduction, nearly all of which were commissioned expressly for this publication. A decade of research underpins the project, with thorough documentation of each object and an overarching monograph that represents the most comprehensive study of the artist's work to date. All facets of the catalogue reflect the input of the artist, who worked closely with the author at all stages.

This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877-1968), one of the early twentieth century's few African American women artists. To understand Fuller's strategy for negotiating race, history, and visual representation, Renee Ater examines the artist's contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation, a freestanding group for the National Emancipation Exposition (1913); and Ethiopia, the figure of a single female for the America's Making Exposition (1921). Ater argues that Fuller's efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.

"For the first time, the real story behind the Highwaymen has emerged . . . a well-researched, lively, and comprehensive overview of the development and contribution of these African-American artists and their place in the history of Florida's popular culture."--Mallory McCane O'Connor, author of "Lost Cities of the Ancient Southeast"

"The Highwaymen" introduces a group of young black artists who painted their way out of the despair awaiting them in citrus groves and packing houses of 1950s Florida. As their story recaptures the imagination of Floridians and their paintings fetch ever-escalating prices, the legacy of their freshly conceived landscapes exerts a new and powerful influence on the popular conception of the Sunshine State.

While the value of Highwaymen paintings has soared in recent years, until now no authoritative account of the lives and work of these black Florida artists has existed. Emerging in the late 1950s, the Highwaymen created idyllic, quickly realized images of the Florida dream and peddled some 100,000 of them from the trunks of their cars.
Working with inexpensive materials, the Highwaymen produced an astonishing number of landscapes that depict a romanticized Florida--a faraway place of wind-swept palm trees, billowing cumulus clouds, wetlands, lakes, rivers, ocean, and setting sun. With paintings still wet, they loaded their cars and traveled the state's east coast, selling the images door-to-door and store-to-store, in restaurants, offices, courthouses, and bank lobbies.
Sometimes characterized as motel art, the work is a hybrid form of landscape painting, corrupting the classically influenced ideals of the Highwaymen's white mentor, A. E. "Bean" Backus. At first, the paintings sold like boom-time real estate. In succeeding decades, however, they were consigned to attics and garage sales. Rediscovered in the mid-1990s, today they are recognized as the work of American folk artists.
Gary Monroe tells the story behind the Highwaymen, a loose association of 25 men and 1 woman from the Ft. Pierce area--a fascinating mixture of individual talent, collective enterprise, and cultural heritage. He also offers a critical look at the paintings and the movement's development. Added to this are personal reminiscences by some of the artists, along with a gallery of 63 full-color reproductions of their paintings.
Gary Monroe, professor of visual art at Daytona Beach Community College, is a documentary photographer with a long-time interest in "outsider" and vernacular art. His work has been recognized with numerous exhibitions and awards, including grants from the National Endowment for the Arts and the Fulbright Foundation, and he has been a popular lecturer for the Florida Humanities Council's Speakers Bureau. His photographs have been published in "Cassadaga: The South's Oldest Spiritualist Community" (UPF, 2000), which he coedited; "Life in South Beach" (1989); and "Florida Dreams" (1993). He lives in DeLand, Florida.