First published in 1959, "Surrealism" remains the most readable introduction to the French surrealist poets Apollinaire, Breton, Aragon, Eluard, and Reverdy. Providing a much-needed overview of the movement, Balakian places the surrealists in the context of early twentieth-century Paris and describes their reactions to symbolist poetry, World War I, and developments in science and industry, psychology, philosophy, and painting. Her coherent history of the movement is enhanced by her firsthand knowledge of the intellectual climate in which some of these poets worked and her interviews with Reverdy and Breton. In a new introduction, Balakian discusses the influence of surrealism on contemporary poetry.
This volume includes photographs of the poets and reproductions of paintings by Ernst, Dali, Tanguy, and others.

One of the most important and underappreciated visual artists of the twentieth century, Romare Bearden started as a cartoonist during his college years and emerged as a painter during the 1930s, at the tail end of the Harlem Renaissance and in time to be part of a significant community of black artists supported by the WPA. Though light-skinned and able to "pass, " Bearden embraced his African heritage, choosing to paint social realist canvases of African-American life. After World War II, he became one of a handful of black artists to exhibit in a private gallery-the commercial outlet that would form the core of the American art world's post-war marketplace. Rejecting Abstract Expressionism, he lived briefly in Paris. After he suffered a nervous breakdown, Bearden returned to New York, turning to painting just as the civil rights movement was gaining ground with the 1954 Brown v. Board of Education and the Montgomery bus boycott. By the time of the March on Washington in 1963, Bearden had begun to experiment with collage-or Projection, as he called it-the medium for which he would ultimately become famous. In An American Odyssey, Mary Schmidt Campbell offers readers an enlightening analysis of Bearden's influences and the thematic focus of his mature work. Bearden's work provides an exquisite portrait of memory and the African American past; according to Campbell, it also offers a record of the narrative impact of visual imagery in the twentieth century, revealing how the emerging popularity of photography, film and television depicted African Americans during their struggle to be recognized as full citizens of the United States.

One of Singapore's most prominent performance artists, Lee Wen produced a body of provocative, thought-provoking and sharply satirical works over three decades. Despite Singapore's decade- long proscription of funding for performance art, Lee Wen was indefatigable, pioneering the art form with searing expressive intensity. He confronted identity politics and issues of race, society and culture through a wide-ranging series of expansive, experimental performances. Presented in this title are writings, lyrics and drawings from Lee's extensive archives, offering personal insight to the rich associations, metaphors and tongue-in-cheek humour found in Lee's imaginative world.

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.

In thirteen chapters, the exhibition and the accompanying catalogue offer profound insight into the cosmopolitan thinking of Joseph Beuys, as manifested in his actions, which are presented in the form of video projections and photographs. For it is in this capacity-as an acting, speaking, and moving figure-that Beuys examined the central, radical idea of his expanded concept of art: "Every human being is an artist." The goal of his universalist approach was to renew society from the ground up. To this day, his influence can be felt in artistic and political discourses. In this exhibition, contemporary artists and representatives from various areas of society enter into a multilayered, transcultural dialogue with Beuys. From today's perspective, they confirm, question, and expand upon his theses about the possibilities of a future conceived via art. With B-Town Warriors, Phyllida Barlow, Nelly Ben Hayoun-Stepanian, Fatou Bensouda, Huma Bhabha, Dineo Seshee Bopape, Angela Davis, Dusadee Huntrakul, Charles Foster, Nuria Guell, Donna Haraway, Raphael Hillebrand, Jenny Holzer, Michel Houellebecq, Mierle Laderman Ukeles, Zoe Leonard, Goshka Macuga, Tuan Andrew Nguyen, Milk Tea Alliance, William Pope.L, Tejal Shah, Vandana Shiva, Santiago Sierra, Patti Smith, Edward Snowdon, Christopher D. Stone, Suzanne Lacy, The Otolith Group, Thich Nhat Hanh, Greta Thunberg, Malala Yousafzai

Now available again, this book is a penetrating exploration of the American realist painter Edward Hopper, who was able to capture the many moods of the nation he called home. From his images of deserted small towns and solitary figures in empty offices to his cheerfully tranquil New England landscapes, Hopper's most famous compositions can be seen as products of a life spent observing human nature. Hopper's images evoke an enigmatic uncertainty, which speaks to the heart of the American experience. Hopper's talent for depicting multiple aspects of the post-war experience is the focus of this generously illustrated and engaging volume.

In 1941 the Swiss art critic Pierre Courthion interviewed Henri Matisse while the artist was in bed recovering from a serious operation. It was an extensive interview, seen at the time as a vital assessment of Matisse's career and set to be published by Albert Skira's then newly established Swiss press. After months of complicated discussions between Courthion and Matisse, and just weeks before the book was to come out-the artist even had approved the cover design-Matisse suddenly refused its publication. A typescript of the interview now resides in Courthion's papers at the Getty Research Institute.; This rich conversation, conducted during the Nazi occupation of France, is published for the first time in this volume, where it appears both in English translation and in the original French version. Matisse unravels memories of his youth and his life as a bohemian student in Gustave Moreau's atelier. He recounts his experience with collectors, including Alfred Barnes. He discusses fame, writers, musicians, politicians, and, most fascinatingly, his travels. Chatting with Henri Matisse, introduced by Serge Guilbaut, contains a preface by Claude Duthuit, Matisse's grandson, and essays by Yve-Alain Bois and Laurence Bertrand Dorleac. The book includes unpublished correspondence and other original documents related to Courthion's interview and abounds with details about avant-garde life, tactics, and artistic creativity in the first half of the twentieth century.

With 2014 marking the one-hundredth anniversary of the commencement of World War I, "En Guerre "offers a fresh, thought-provoking exploration of the impact of the Great War as viewed through the lens of French graphic illustration of the period. Published in conjunction with an exhibition of these illustrations at the University of Chicago Library's Special Collections Research Center, this catalog draws from illustrated books, magazines, and prints to present a wide range of perspectives on themes essential to a deeper understanding of the war in France: patriotism, nationalism, propaganda, and the soldier's experience, as well as the mobilization of the French national home front as seen through fashion, music, humor, and children's literature. With a text by noted historians Neil Harris and Teri J. Edelstein and featuring more than one hundred reproductions of the vivid and colorful work of French illustrators, "En Guerre" reaffirms the persuasive role that art can play in the service of political and military power.

Rudolph Zallinger's 110-foot (33.5-meter) fresca secco painting of The Age of Reptiles is one of the largest natural history murals in the world. Completed in 1947, it is an overview of prehistoric life told through the principal features and concepts of The Age of Reptiles. The mural has defined our view of the prehistoric world, and continues to teach, inform and spark the imagination of thousands of visitors that walk through the Yale Peabody Museum's Great Hall each year, as well as to admirers around the world over through countless reproductions in publications and textbooks. This second edition of the Peabody's guide to Zallinger's masterwork is a compilation of earlier material and new information-including Vincent Scully's classic essay on the mural's place in the history of art-contributed by the staff and scientists of the Yale Peabody Museum. Filled with full color illustrations throughout, the concealed spiral paperback includes updated descriptions and identifying illustrations of the animals and plants depicted in the mural keyed to a 12 page foldout full-color poster that is bound into the book. Distributed for the Yale Peabody Museum of Natural History

Why did the Museum of Modern Art and the Guggenheim in New York, and art collectors and curators such as Katherine Dreier and Alfred Barr, collect modern German art in the first half of the twentieth century? And why did certain works of art belong to the canon while others did not? In this book, Gregor Langfeld argues that National Socialism played a crucial role in the canonization of movements such as Expressionism and the Bauhaus. A role which undermined the post-1945 reputations of many artists associated with classical and figurative trends. Langfeld offers important new insights into the political and ideological motivations behind the New York art world's fluctuations in opinion, fashion, and price.

Showcasing IWM's extensive collection, this book includes works from the major artists of the time such as John and Paul Nash, Orpen, Spencer and Singer Sargent as well as other artists who are less familiar to us today. With an introductory essay by the late Roger Tolson, former Head of Art at Imperial War Museums, this book offers an insight into the huge range and power of wartime art during the First World War.

Earl Krentzin (1929-2021) was a virtuoso silversmith who poured his considerable talents into figurative sculpture, creating whimsical theatrical settings in silver with a wry humour. He was an anomaly in the world of modern craft, having more in common with the 16th-century goldsmith Benvenuto Cellini than with his 20th-century peers. This first full scale monograph on the artist offers the breadth of Krentzin's engaging creations, which he based on his love of toys, movement, and the mechanical arts. Readers will find humour and pathos in his theatrical settings and verisimilitude in every tiny detail, set amidst the burgeoning crafts scene in Detroit. All will discover a modern master who used amusements and daydreams to unlock the imagination.

Rudolph Ihlee (1883-1968) was a prize-winning student at the Slade where his contemporaries included Stanley Spencer, Mark Gertler, Maxwell Gordon Lightfoot, C.R.W. Nevinson and Edward Wadsworth. Turning his back on a flourishing career in London, he relocated to the southern French town of Collioure, where the Mediterranean light had mesmerised artists such as Derain and Matisse before him. Exploring for the first time Ihlee's impressive oeuvre in the context of a fascinating biography, this book provides a lively account of the career of an accomplished but under-appreciated artist, who found creative freedom and personal contentment on the inspirational Catalan coast.

This book examines the salient ideas and practices that have shaped Surrealism as a protean intellectual and cultural concept that fundamentally shifted our understanding of the nexus between art, culture, and politics. By bringing a diverse set of artistic forms and practices such as literature, manifestos, collage, photography, film, fashion, display, and collecting into conversation with newly emerging intellectual traditions (ethnography, modern science, anthropology, and psychoanalysis), the essays in this volume reveal Surrealism's enduring influence on contemporary thought and culture alongside its anti-colonial political position and international reach. Surrealism's fascination with novel forms of cultural production and experimental methods contributed to its conceptual malleability and temporal durability, making it one of the most significant avant-garde movements of the twentieth century. The book traces how Surrealism's urgent political and aesthetic provocations have bequeathed an important legacy for recent scholarly interest in thing theory, critical vitalism, new materialism, ontology, and animal/human studies.

Accompanying a major retrospective of Anders Zorn's work, this is the first volume in English to explore the Swedish Impressionist's entire career in depth. Anders Zorn (1860-1920) is one of Sweden's most accomplished and beloved artists. Renowned for his light, expressive watercolors, he attained mastery of the genre at an early age and later applied his techniques to oil painting. Zorn is often compared with the artists John Singer Sargent and Joaquin Sorolla y Bastida, contemporaries who also were known for their portraits of high-society figures. Taking up residence in London and then in Paris, Zorn established himself as an international portrait painter, depicting fashionable clients in a style both elegant and relaxed. He became a favorite among wealthy American collectors, bankers, and industrialists who sat for him, including art collector Isabella Stewart Gardner and three U.S. presidents. Although perhaps best known for his portraits, Zorn brought equal skill to painting genre scenes and views of nature. This handsome volume provides a thorough introduction to the artist and his works, from portraiture to landscapes and his famous nudes. Four illustrated essays are accompanied by a chronology, selected bibliography, an exhibition checklist, and an index.

Auguste Rodin is still justifiably recognized today as not only one of the greatest sculptors of all time, but also the father of modern sculpture. His monument to the "Burghers of Calais" is one of the best-known public sculptures in the world. So much so that Edward Horswell decided to curate an exhibition dedicated to the burghers in 2015. Having spent more than 10 years building one complete set, the Sladmore was fortunate to secure a second, which, coupled with the gallery's current stock holding of burghers and related works, created a most informative exhibition: several examples of the same sculpture could be viewed together, affording rich comparisons. In this beautifully illustrated publication, Horswell explains how the monument came to fruition and looks at the casting history of the 50 separate works Rodin made on this subject and focusing on the five reductions made between 1895 and 1903. It also includes an essay by Patrick Elliott, Senior Curator at the Scottish National Gallery of Modern Art in Edinburgh, which looks at the monument and its influence on sculpture and sculptors from its first unveiling in 1895 to today.

From the Roaring Twenties and the Group of Seven to the Automatistes and the early Cold War, Canadian artists lived through and embodied an era of global tumult and change. With an interweaving of historical narrative, lavish illustrations, and writings by many of Canada's most revered cultural figures, Lora Senechal Carney illuminates the lives, perspectives, and works of the era's painters and provides glimpses of the sculptors, poets, dancers, critics, and filmmakers with whom they associated. Canadian Painters in a Modern World gives readers direct access to a carefully curated selection of writings, artworks, photos, and other documents that help to reconstruct the public spheres in which artists including Paul-Emile Borduas, Emily Carr, Alex Colville, Lawren Harris, David Milne, and Pegi Nicol MacLeod circulated. Each of the book's eight chapters consists of a narrative about a key issue or debate, focusing on the relationship of art to politics and society, and on how these are negotiated in an individual's life. Relating artistic engagement with and responses to the Spanish Civil War, the Second World War, and the Cold War, Senechal Carney discovers a common desire for new connections between art and life. Revealing continuities, ruptures, and watershed moments, Canadian Painters in a Modern World showcases artistic production within specific socio-political contexts to shed new light on Canadian art during three decades of conflict and crisis.

Vanessa Bell (1879-1961) has been known as the still, quiet centre around which the Bloomsbury Group revolved, renowned for her beauty, her complex romantic entanglements and, later, her domestic gravitas - and as the sister of Virginia Woolf. But Bell was also one of the most advanced British artists of her time, with her own distinctive vision, boldly interpreting new ideas about art which were brewing in France and beyond. This publication beautifully showcases Bell's pioneering oil paintings, photographs, ceramics, fabrics, decorative screens and works on paper in a revelatory affirmation of her vibrant and wideranging talent. Including more than 180 colour plates, Vanessa Bell is a definitive record of Bell's accomplishments, enhanced with photography of Charleston, the Sussex farmhouse that she occupied with creative flair alongside Duncan Grant and the rest of her unconventional family. With sections devoted to portraiture, landscape, still life, design, domestic scenes and female subjects, the book gathers together a rich chorus of voices - from renowned Bloomsbury scholars to emerging experts - delivering a fresh view of an intrepid modern artist seen clearly on her own terms at last.

In this generously illustrated and lively book, Christopher Lloyd sets out and interprets the lifelong achievement of Picasso (1881-1973) as a draftsman. Although there have been many publications about his drawings that have tended to focus on particular periods of his career, this stunning volume specifically examines how drawing serves as the vital thread connecting all of Picasso's art, just as it also links his private world with his public persona of which he was becoming increasingly aware in his later years. Picasso and the Art of Drawing ultimately showcases how the basis of the titular artist's style as painter, sculptor, printmaker, and designer was manifestly achieved through drawing. Distributed for Modern Art Press

In this comprehensive collection of essays, three generations of international scholars examine Mexican muralism in its broad artistic and historical contexts, from its iconic figures - Diego Rivera, Jose Clemente Orozco, and David Alfaro Siquieros - to their successors in Mexico, the United States, and across Latin America. These muralists conceived of their art as a political weapon in popular struggles over revolution and resistance, state modernization and civic participation, artistic freedom and cultural imperialism. The contributors to this volume show how these artists' murals transcended borders to engage major issues raised by the many different forms of modernity that emerged throughout the Americas during the twentieth century.

Revolutionary essays on design, aesthetics and materialism - from one of the great masters of modern architecture Adolf Loos, the great Viennese pioneer of modern architecture, was a hater of the fake, the fussy and the lavishly decorated, and a lover of stripped down, clean simplicity. He was also a writer of effervescent, caustic wit, as shown in this selection of essays on all aspects of design and aesthetics, from cities to glassware, furniture to footwear, architectural training to why 'the lack of ornament is a sign of intellectual power'. Translated by Shaun Whiteside With an epilogue by Joseph Masheck

This extraordinary book is the first volume of the definitive catalogue raisonne of the work of Mark Rothko, one of the greatest abstract artists of the twentieth century. It documents Rothko's entire output of paintings on canvas and panel, reproducing all the works in color. An introductory text also investigates every essential feature of Rothko's art.

David Anfam explores the underestimated variety as well as the amazing continuity of Rothko's pictures. These include the images for which Rothko is famous -- the large, hypnotic, and poignant fields of color -- along with almost 400 further pictures that reveal a far less well known figure who was attuned by turns to realism, expressionism, surrealism, and the avantgarde issues of his era. Anfam presents a radical overview of Rothko's achievement, offering an analysis of its sources and themes: these extend from a study of such old masters as Rembrandt and Vermeer to his eventual groundbreaking vision of painting as an environment, expressed in the mural cycles and the architectural framework of the Rothko Chapel in Houston. Anfam pays special attention to the physical makeup of the paintings, as well as to Rothko's innovative sense of space, color, and surface, his complex technical procedures, and the symbolism of the work. This is combined with an account of Rothko's stylistic evolution and its chronology, tracing its development from figuration to an abstract vision imbued with a profound grasp of how the viewer has an interactive role to play in perceiving the works. The volume also includes the most extensive Rothko bibliography ever published. The fruit of almost a decade of research, this monumental publication is thereference pont for all future studies of Rothko's art.

Active at the Bauhaus between 1920 and 1931, teaching in the bookbinding, stained glass and mural-painting workshops, Paul Klee (1879-1940) brought his expressive blend of color and line to the school--and, with the second volume in the Bauhausb cher series, beyond its walls. In his legendary Pedagogical Sketchbook, Klee presents his theoretical approach to drawing using geometric shapes and lines. Evincing a desire to reunite artistic design and craft, and written in a tone that oscillates between the seeming objectivity of the diagram, the rhetoric of science and mathematics, and an abstract, quasi-mystical intuition, Klee's text expresses key aspects of the Bauhaus' pedagogy and guiding philosophies. And while Klee's method is deeply personal, in the context of the fundamentally multivocal Bauhaus, his individual approach to abstract form is typical in its idiosyncrasy. In the Pedagogical Sketchbook, Klee presents his own theories about the relationships between line, form, surface, color, space and time in art in the context of the Bauhaus. The book testifies to Klee's intensive theoretical explorations of art and exemplifies how the Bauhaus masters interconnected the various realms of art and design. In the present volume, the 1953 English translation of Pedagogical Sketchbook by Sibyl Moholy-Nagy is combined with the design and physical qualities of the original German edition from 1925.