My Life was written in Moscow in 1921-1922, when Chagall was thirty-five years old. Although long out-of-print, it remains one of the most extraordinarily inventive and beautifully told of all autobiographies. The text is accompanied by twenty plates which Chagall prepared especially to illustrate his life story. Together, the words and pictures paint an incomparable portrait of one of the greatest painters of this century, and of the now vanished milieu which inspired him.

No Italian painter of this century has aroused so much comment, from eulogy to outright condemnation, as Giorgio de Chirico (1888-1978). One of the initiators of surrealism, he is a key figure in modern art; his influence on later painters, particularly during his metaphysical period, is second only to Picasso's. De Chirico relied on imagery from the unconscious to create art with mythological, philosophical, and historical overtones.

Internal criticism of the Bauhaus For a long time, the topic of far-left currents within Bauhaus was one of controversy. Thanks to recent research on the Communist Student Fraction (Kostufra), the leftist students are finally coming into focus. Their magazine: bauhaus. sprachrohr der studierenden. organ der kostufra was a venue for unsparing critique of events, curricula, and teachers. The journal was published between 1930 and 1932 in Dessau and Berlin in 15 hectographed issues in a loose-leaf collection and is critically discussed here for the first time by researchers from art and cultural studies, architecture, and editorial studies. It clearly demonstrates that the experimental value of Bauhaus cannot be separated from its political radicalism. First detailed reappraisal of communism in Bauhaus With contributions by Peter Bernhard, Marcel Bois, Magdalena Droste, Elizabeth Otto, Patrick Roessler, and others

Dolores Soldevilla Nieto was a passionate Cuban artist whose career blossomed in the 1950s. Following early professional turns, she emerged later in life as a prolific artist and fervent advocate for culture. She became Cuba's cultural attache to Europe, embarking on a path that would dramatically alter the course of her life and the discourse surrounding Cuban abstraction at mid-century. Residing in Paris, she studied in the ateliers of prominent European and American artists, and, after returning to Cuba, she played an active role as a vital link between the European avant-garde and the new voices of abstraction emerging throughout Latin America and Cuba. Lolo Soldevilla: Constructing Her Universe is the first monograph devoted to her remarkable achievements, providing compelling insight into the life and work of this exceptional artist.

Les collections d'&#156uvres d'art racontent des histoires qui refletent les interets du collectionneur et de son epoque. Chefs-d'&#156uvre de la Galerie d'art Beaverbrook relate la vie rocambolesque de sir William Maxwell (Max) Aitken, aussi connu sous le nom de lord Beaverbrook, magnat de la presse multimillionnaire, editeur de journaux arrogant, habile politicien, maitre de la propagande, auteur et grand philanthrope.

En 1959, sir Max Aitken inaugure a Fredericton, au Nouveau-Brunswick, la Galerie d'art Beaverbrook pour abriter une collection exemplaire de tableaux. Constitue par lord Beaverbrook lui-meme et son entourage de conservateurs et de collegues, ce noyau initial d'&#156uvres deviendra l'une des plus belles et des plus importantes collections d'art britannique en Amerique du Nord. Il comprend notamment des &#156uvres de J.M.W. Turner, Lucian Freud, Graham Sutherland et Walter Sickert, ainsi que des tableaux representatifs de Thomas Gainsborough, John Constable, John Singleton Copley, Eugene Delacroix, Joshua Reynolds et Salvador Dali, qui temoignent du caractere distinctif et de la qualite de la remarquable collection de la Galerie.

Ces &#156uvres importantes sont reunies pour la premiere fois dans cette publication luxueuse comprenant plus de 75 reproductions en couleur, ainsi que des essais sur l'histoire de la collection et les chefs-d'&#156uvre, signes par six critiques renommes?: Elliott H. King, historien de l'art et specialiste de Dali; James Hamilton, auteur de "Turner: A Life"; Richard Calvocoressi, directeur de la fondation Henry Moore; l'auteur et conservateur Angus Stewart; l'historienne de l'art Katharine Eustace; ainsi que Terry Graff, conservateur de la Galerie d'art Beaverbrook et principal auteur de cet ouvrage.

Pour clore l'ouvrage, le journaliste Marty Klinkenberg et le directeur general de la Galerie d'art Beaverbrook, Bernard Riordon, retracent les peripeties du differend opposant le musee et les deux fondations Beaverbrook.

Themes of the American West have been enduringly popular, and The American West in Bronze features sixty-five iconic bronzes that display a range of subjects, from portrayals of the noble Indian to rough-and-tumble scenes of rowdy cowboys to tributes to the pioneers who settled the lands west of the Mississippi. Fascinating texts offer a fresh look at the roles that artists played in creating interpretations of the "vanishing West"-whether based on fact, fiction, or something in-between. These artists, including Charles M. Russell and Frederic Remington, embody a range of life experiences and artistic approaches. Some grew up in the West and based their artwork on first-hand experience, while others never set foot west of the Rockies. Four thematic sections-Indians, animals, cowboys, and settlers-are illustrated with new photography and provide a cultural overview to the works presented. Also included are biographies of the artists, each illustrated with a vintage portrait, plus an illustrated chronology of historical and artistic events. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art (12/17/13-04/13/14) Denver Art Museum (05/09/14-08/31/14) Nanjing Museum (October 2014-January 2015)

In the first half of the 20th century, thousands of newcomers-Eastern European emigres, Mexican immigrants, and Southerners both black and white-flocked to Chicago. These new residents included artists who made significant contributions to the vibrant cultural life of the city. They Seek a City highlights approximately seventy-five paintings, works on paper, photographs, and sculptures by such artists as Eldzier Cortor, Archibald Motley, and Morris Topchevsky that reflect the diverse urban social landscape. As these artists sought to navigate their surroundings and establish their identities amid a changing society, they found inspiration in their personal and cultural contexts. Frequently, they focused on the underlying causes of immigration or migration and depicted themes of exile and alienation. Others chose to represent their new surroundings, for better or worse, addressing concerns such as racism, poverty, and social injustice. Artistic styles also varied. Whereas many worked in a figurative mode to better convey social or political messages, modernist art by European immigrants such as Laszlo Moholy-Nagy also played a major role. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago(03/03/13-06/02/13)

Politics of art under National Socialism This publication deals with the most powerful Nazi institution for the political control of artists in the Third Reich, the Reich Chamber of Fine Arts. This scholarly examination of the almost 3,000 member files offers a unique insight into the political power structures, processes, networks, and artistic attitudes of the Nazi regime in Vienna. Beginning with the rise of Austrian fascism before 1938, the book goes on to discuss the consequences of the Anschluss for painting, sculpture, arts and crafts, architecture, and graphic art in Vienna. The book describes the most important players in Nazi art, the commissioning institutions, and the propaganda exhibitions. The book also takes a critical look at the situation after 1945 and questions artistic and personal continuities. Publication and exhibition catalog of the Wien Museum - one of the most beautiful books of Austria 2021 Filling a gap in the historiography of the 20th century Remembering those artists who fell victim to the National Socialist regime

Die inneren Widerspruche nationalsozialistischer Kunstpolitik aussern sich besonders bei der Rezeption des Expressionismus, dessen Werke einerseits im Brennpunkt der Verfemung standen, andererseits fur ideologische Richtungskampfe innerhalb der NSDAP in Anspruch genommen wurden. Die kommentierte Quellenedition widmet sich der historischen Analyse dieser Widerspruche: Von der Rezeption des Expressionismus als internationale Avantgarde seit dem Kaiserreich und den Debatten uber einen "nordischen" Expressionismus im Ersten Weltkrieg, in der Weimarer Republik und im "Dritten Reich" bis zu den Kontroversen uber sein Erbe nach dem Zweiten Weltkrieg werden Wertschatzung und Verachtung dieser Kunst durch die konfliktreiche deutsche Geschichte des 20. Jahrhunderts verfolgt.

"The menace of surrealism was so frequently advertised that any reader of this book should be allowed the impudence of demanding my credentials." So opens Wayne Andrews's The Surrealist Parade, a portrait of the movement in literature and art by a man who, at the age of nineteen, began to correspond with its major figures and afterward came to know them well. Under the name of Montagu O'Reilly, Andrews wrote the surrealist fiction Pianos of Sympathy (1936), the very first New Directions book. In later years, Andrews became a social historian, art archivist, and scholar of architectural history, publishing no less than sixteen books, among them his well-known study of the cultural roots of Nazism, Siegfried's Curse, and a pungent biography of Voltaire (meanwhile, Montagu O'Reilly had made a reappearance on the ND list in 1948 with Who Has Been Tampering with These Pianos?). When Andrews died in 1987, he had completed all but the last chapter of The Surrealist Parade, his portrait of a movement in art and literature that took in such disparate temperaments as Andre Breton, Paul Eluard, and Salvador Dali. The book is, in the words of his lifelong friend and publisher, James Laughlin, a "little insider's history... Montagu is very much behind Wayne in these caustic yet admiring sketches."

From Dada to the Automatists, and from Max Ernst to Andre Breton, Gerard Durozoi provides the most comprehensive and fascinating history of the Surrealist movement to date. Tracing the movement from its origins in the 1920s to its decline in the 1950s and 1960s, Durozoi tells the history of Surrealism through its activities, publications and reviews, demonstrating its close ties to some of the most explosive political, as well as creative, debates of the 20th century. Unlike other histories, which focus mainly on the pre-World War II years of the movement in Paris, Durozoi covers a wider chronological and geographic range, treating in detail the postwar years and Surrealism's colonization of Latin America, the United States, Japan, Czechoslovakia, Belgium, Italy and North Africa. Drawing on a staggering amount of documentary and visual evidence - including more than 1,000 illustrations, many of them in colour - he illuminates all the intellectual and artistic aspects of the movement, from literature and philosophy to painting, photography and film. All the Surrealist stars and their most important works are here - Aragon, Borges, Breton, Bunuel, Cocteau, Crevel, Dali, Desnos, Ernst, Man Ray, Soupault and many more - for all of whom Durozoi has provided brief biographical notes in addition to featuring them in the main text. For anyone who wants to know more about practically any aspect of Surrealism, from its vexed relations with communism to its exquisite corpses, Durozoi's "History of the Surrealist Movement" should be a valuable reference.

English Description: The painter Heinrich Friedrich Fueger, born in Heilbronn, the son of a clergyman, first went to Vienna in 1774, and settled there in 1783 after spending several years in Italy. In 1795 he was appointed director of the Academy, in 1806 to be head of the Imperial Picture Gallery. Rococo at the outset, his style soon developed to become Neo-classical. Fueger's portraits are outstanding. He does justice to the individuality of his sitters, and they gave him access to the aristocracy. Stylistically, his later portraits emerge into Early Realism. Rooted in his age, Fueger saw his real remit as a painter of monumental history scenes, in which he sought to get away from the models and give expression to eternally valid higher truths in the interplay of form and content. Under Fueger's leadership, the Viennese Academy flourished, achieving renown throughout Europe. But in spite of his skill, and the high regard in which he was held in his own day, he has all but disappeared from public awareness. The present overview restores his proper art-historical importance with the help of outstanding works. German description: Der bedeutende klassizistische Maler Heinrich Friedrich Fueger war seinerzeit fuer seine virtuosen Portratminiaturen beruehmt. Als Direktor der Wiener Akademie genoss er hochstes Ansehen. Die Kunsthalle Vogelmann macht sein kunstvolles Schaffen in Ausstellung wie Kuenstlermonographie erstmals wieder umfassend prasent

Aleksandr Rodchenko (1891 -1956) was one of the driving forces of the Russian avant-garde. In his works - paintings, collages, photomontages, photographs, sculptures, advertising designs and typography - he captured the dynamic social changes that took place in the years immediately following the October Revolution: the design of a new world.

The discussion of Cologne consists of four sections that explore different elements and aspects of the movement's expression in this city. The first two sections address the origins of Cologne Dada from the post-war anger and strife that formed the movement's backdrop to the precise events that led to its birth. The third section explores the aesthetics of Cologne Dada while the last examines the fiery relationship between Dadaist politics and aesthetics that culminated with Max Ernst's departure for Paris in 1922. A section on Hanover addresses the political and social nature of the city that gave rise to a particular blend of Expressionist and Dadaist aesthetics dominated by Kurt Schwitters. Hanover supported a politically progressive climate that nurtured the development of Dada, and an avant-garde society of publishers, art collectors, art exhibitors, and theatre patrons. This volume examines lesser known aspects of Schwitter's work, such as his Merz-Evenings and the utopian Merzbau project.

English Description: Joannis Avramidis is a protagonist of modern sculpture. His geometrically severe figures show, in inimitable classicism, the human being as the measure of abstract figuration. Werner Hofmann's book covers the timeless design principles of a body of work developed from the energies of the corporeal. The formal language of the Greek sculptor Joannis Avramidis, who was born in Georgia in 1922, is based on geometric constructions that allow the eternally valid to be seen as the law-governed constant in the individual. The structures that result serve no norm, however, but integrate the variety of particularities in bodily forms of a finely nuanced structure. In the proportion of the parts to the whole, and in the basic form to its offshoots, there appear clear and concentrated figures of confident monumentality. The 'rhythm of severity' is their unmistakable distinguishing feature, and something which the artist Avramidis has made entirely his own. In this rhythm are expressed corporeality and statics, sensuality and detachment, the sophistication and immutability of the classic standard. In his book, Werner exemplifies the criteria of seeing which these works require, integrating them into the genesis of their structure and shows the totality of the uvre in the variety of its themes and ideas. In the process, the approach via the drawing shows itself to be the essential precondition for the understanding of the sculpture. This richly and sensitively illustrated book allows access to works whose classically calmed strength, through museums and numerous public places, has long been anchored in the awareness of modern art. German description: Joannis Avramidis ist ein Protagonist der modernen Plastik. Seine geometrisch strengen Figuren zeigen in unnachahmlicher Klassizitat den Menschen als Mass abstrakter Figuration. Werner Hofmanns Buch erschliesst die zeitlosen Gestaltungsprinzipien eines aus den Energien des Korperhaften entwickelten Werks

English Description: Christian Wilhelm Ernst Dietrich is one of the most important German painters of the 18th Century. To mark the 300th Birthday of this extraordinary artist, this monograph of his life and work is published. Dietrich s importance has been largely forgotten in the wake of the changing artistic tastes in the 19th Century. German Description: Christian Wilhelm Ernst Dietrich gehort zu den wichtigsten deutschen Malern des 18. Jahrhunderts. Anlasslich seines 300. Geburtstages stellt eine Monografie Leben und Werk dieses aussergewohnlichen Kunstlers erneut vor, dessen Bedeutung im Zuge des sich wandelnden Kunstgeschmacks im 19. Jahrhundert weitgehend in Vergessenheit geraten ist."

Along with Turner, no artist has sought more than Claude Monet (1840-1926) to capture light itself on canvas. Of all the Impressionists, it was the man Cezanne called "only an eye, but my God what an eye!" who stayed completely true to the principle of absolute fidelity to the visual sensation, painting directly from the object. It could be said that Monet reinvented the possibilities of color, and whether it was through his early interest in Japanese prints, his time in the dazzling light of Algeria as a conscript, or his personal acquaintance with the major painters of the late 1800s, what Monet produced throughout his long life would change forever the way we perceive both the natural world and its attendant phenomena. The high point of his explorations were the late series of water lilies, painted in his own garden at Giverny, that, in their moves towards almost total formlessness, are really the origin of abstract art. This biography does full justice to this most remarkable and profoundly influential of artists, and offers numerous reproductions and archive photos alongside a detailed and insightful commentary.

"Eastern Dada Orbit" is composed of two distinct parts and describes two largely unexplored aspects of Dada. The first, "Dada in Central and Eastern Europe" (including the former Soviet Union), edited by Gerald Janecek, was a previously closed field that scholars have since discovered reveals the significant influence of Dada on the region. The second part of this volume, "Tada=Dada (Devotedly Dada) for the Stage: The Japanese Dada Movement 1920-1925," focuses upon the equally under researched area of Dada in Japan. Toshiharu Omuka traces the particular place of Dada within the dynamic development of Japanese modernism.

Academics, Pompiers, Official Artists and the Arriere-garde: Defining Modern and Traditional in France, 1900-1960 is a collection of eight essays and a scholarly introduction by established and emerging scholars that challenges the continuing modernist slant of twentieth-century art history. The intention is not to perpetuate the vulgar opposition between avant-garde and reactionary art that characterized early-twentieth-century discourse and has marked much subsequent historical writing, but rather to investigate the complex relationship that both innovative and conservative artists had to the concept of tradition. How did artists and art critics conceive of tradition in relation to modernity? What was the role of an artist's institutional positioning in determining expectations for his or her art? What light is thrown on the structure of the French art world by considering artists from abroad who worked in Paris? How did the war alter modernist and avant-garde paradigms and force crucial changes upon art production in the postwar period to 1960? Particular attention is paid to the terms academic, pompier, official, and arriere-garde, originally used to situate the more conservative artists and works as second-rate or as the negative foil to the assumed radicalism of the avant-garde. By re-evaluating the work of artists pushed to the historical margins by such polemical descriptors, and by proposing alternative understandings of the aesthetic, economic, institutional and political factors that drive our ideas of avant-gardism and the modernist narrative in France, this collection of essays offers new routes to explore the terrain of twentieth-century art in France.

When she died in 1955, Geddes was described as 'the greatest stained glass artist of our time' whose monumental directness of treatment (whatever the scale) constituted 'a revival of the mediaeval genius'. Yet a full appreciation of her powerful figurative art was limited to a relative few. Although critics praised the deeply spiritual and uncompromising skill of her craftsmanship - 'Nowhere in modern glass is there a more striking example of a courageous adventure in the medium' (her 1919 Duke of Connaught War Memorial in Ottawa), her 'power of simplifying without loss of meaning' (her great Wallsend Crucifixion window of 1922), and 'the fine sensibility and deep intelligence' of her majestic 64-light Te Deum rose window to the king of the Belgians (1934-8) - her often out-of-the-way windows need to be seen in situ. Battling with ill health, like her better-known pupil and contemporary, Evie Hone, she became a major figure in the Irish Arts and Crafts movement and 20th-century British stained glass revival, a medieval-modernist of rare intellect, skill and aesthetic integrity. This profusely illustrated contextual study of her life and work draws on hitherto unpublished primary sources to represent her unique artistic achievement during the turbulence of two world wars.

This is the first ever monograph on the work of Enid Marx (1902-1998), a leading artist-designer, collector and writer, closely associated with the Great Bardfield group of artists, including Eric Ravilious and Eric Bawden. Marx was a leading woman designer in the first generation to make a distinctive contribution to the growing practice of industrial design in Britain. Her design work, much of it anonymous, including postage stamps, book cover patterns, wartime utility fabrics and tube train seat fabric, was, in its time, ubiquitous in British public life and as a whole, remains utterly emblematic of post-war popular visual culture. Alan Powers traces Marx's career beginning as a student at the Royal College of Art to in-demand designer of the mid-twentieth century and eventually inspirational teacher at Croydon College of Art. He considers Marx's contacts with other significant artists, including international friendships with designers in Europe, Scandinavia and America, her role in the crafts revival between the wars, her reputation in Britain and overseas, and the wider campaigns to involve artists in the design of industrially produced goods. Drawing on a wealth of research and thoroughly illustrated with high-quality reproductions of drawings, paintings, hand-blocked fabrics, linocuts and book illustrations - many previously unpublished - Alan Powers' account adds considerably to the existing body of knowledge about Enid Marx's actual production and reveals an artist whose work was perfectly poised at the intersection of traditional craft and abstract modernity.