A beautifully illustrated retrospective of Art Nouveau architect and designer Hector Guimard, positioning him at the forefront of the modernist movement The aesthetic of architect Hector Guimard (1867-1942) has long characterized French Art Nouveau in the popular imagination. This groundbreaking book showcases all aspects of his artistry and recognizes the fundamental modernity of his work. Known for, among other things, the decorative entrances to the Paris Metro and the associated lettering, he often looked to nature for inspiration, and combined materials such as stone and cast iron in unique ways to create designs composed of curves and waves that evoked movement. Guimard broke away from his classical Beaux-Arts training to advocate a modern, abstract style; he also pioneered the use of standardized models for his design objects and experimented with prefabricated designs in his social housing commissions, advancing the technology of the time. With copious, beautifully reproduced illustrations of his architectural drawings as well as his furniture, jewelry, and textile designs, this volume explores Guimard's full oeuvre and elucidates the significance of his work to the history of modern art. Essays by an international group of scholars present Guimard as a visionary architect, a shrewd entrepreneur, an industrialist, and a social activist. Published in association with the Richard H. Driehaus Museum Exhibition Schedule: Cooper Hewitt, Smithsonian Design Museum, New York (November 17, 2022-May 21, 2023) The Richard H. Driehaus Museum, Chicago (June 22, 2023-January 7, 2024)

A curated list of more than 250 must-see destinations organized geographically from Maine to Florida

Featuring architecture by some of the biggest Mid-Century names, including Mies van der Rohe, Marcel Breuer, Eero Saarinen, and Philip Johnson, each of the more than 250 buildings is located on a regional map. The book includes all the additional information needed to find and visit each building.

Its cool and functional design makes this book a coveted Modernist-style object in itself.

Including icons from The Met Breuer to the fabulous beach houses of Fire Island, private homes in Connecticut, Manhattan skyscrapers, and the Tropical Modern residences of Sarasota, Florida, it is a must-have guide to one of the most fertile and lesser-known regions for the development of Mid-Century Modern architecture.

From the publisher of Mid-Century Modern Architecture Travel Guide: West Coast USA.

The outbreak of the First World War coincided with the beginnings of high modernism in literature and the visual arts to make 1914 a pivotal moment in cultural as in national history. Yeats, Wyndham Lewis, Gaudier-Breszka, Sickert, Epstein and many other avant-garde artists were at work in London during 1914, responding to urgent political as well as aesthetic problems. London was the setting for key exhibitions of high modernist paintings and sculptures, and home to a number of important movements: the Bloomsbury Group, the Whitechapel Boys and the Vorticists among them. The essays in this 2010 book collectively portray a dynamic, remarkable year in the city's art world, whose creative tensions and conflicts were rocked by the declaration of war. A bold, innovative account of the time and place that formed the genesis of modernism, this book suggests new routes through the fields of modernist art and literature.

A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design Alloys looks at a unique period of synergy and exchange in the postwar United States, when sculpture profoundly shaped architecture, and vice versa. Leading architects such as Gordon Bunshaft and Eero Saarinen turned to sculptors including Harry Bertoia, Alexander Calder, Richard Lippold, and Isamu Noguchi to produce site-determined, large-scale sculptures tailored for their buildings' highly visible and well-traversed threshold spaces. The parameters of these spaces-atriums, lobbies, plazas, and entryways-led to various designs like sculptural walls, ceilings, and screens that not only embraced new industrial materials and processes, but also demonstrated art's ability to merge with lived architectural spaces. Marin Sullivan argues that these sculptural commissions represent an alternate history of midcentury American art. Rather than singular masterworks by lone geniuses, some of the era's most notable spaces-Philip Johnson's Four Seasons Restaurant in Mies van der Rohe's Seagram Building, Max Abramovitz's Philharmonic Hall at Lincoln Center, and Pietro Belluschi and Walter Gropius's Pan Am Building-would be diminished without the collaborative efforts of architects and artists. At the same time, the artistic creations within these spaces could not exist anywhere else. Sullivan shows that the principle of synergy provides an ideal framework to assess this pronounced relationship between sculpture and architecture. She also explores the afterlives of these postwar commissions in the decades since their construction. A fresh consideration of sculpture's relationship to architectural design and functionality following World War II, Alloys highlights the affinities between the two fields and the ways their connections remain with us today.

'The beautiful, revelatory biography of Jim Ede and Kettle's Yard that we have been waiting for. I loved it.' Edmund de Waal The lives of Jim Ede and the Kettle's Yard artists represent a thrilling tipping point in twentieth-century modernism: a new guard, a new way of making and seeing, and a new way of living with art. The artists Ben and Winifred Nicholson, Henry Moore, Christopher Wood, Barbara Hepworth, David Jones, Alfred Wallis and Henri Gaudier-Brzeska were not a set like the Bloomsbury Set or Ravilious and his friends. But Jim Ede recognised in each of the artists he championed something common and kindred, some quality of light and life and line. Jim Ede is the figure who unites them. His vision continues to influence the way we understand art and modern living. He was a man of extraordinary energies: a collector, dealer, fixer, critic and, above all, friend to artists. For Ede, works of art were friends and art could be found wherever you looked - in a pebble, feather or seedhead. Art lived and a life without art, beauty, friendship and creativity was a life not worth living. Art was not for galleries alone and it certainly wasn't only for the rich. At Kettle's Yard in Cambridge, he opened his home and his collection to all comers. He showed generations of visitors that learning to look could be a whole new way of life. In this captivating, lively and deeply researched biography, Laura Freeman reveals the life of a man who helped shape twentieth-century British art, and sheds new light on the rare beauty and character of his greatest creation, Kettle's Yard.

Alan Caswell Collier was one of Canada's most admired and successful landscape painters, but during the Depression he worked alongside other single, unemployed men in government-run relief camps. Labouring for twenty cents a day, he detailed camp life and politics in letters to his fiancee and depicted fellow "relief stiffs" and the BC landscape in character sketches and paintings. Incisive and candid, his letters reveal a born contrarian with a strong sense of social superiority over his fellow "twenty centers." But his letters also offer a fresh perspective on the hopes and dreams of an eminent Ontario artist and of the generation who came of age at a time of economic upheaval and class conflict.

In the 1920s, German-Swiss artist Paul Klee (1879-1940) began his long-lasting engagement with polyphonic art-multi-voiced way of painting analogous to music. A relentless experimenter, Klee began these studies while teaching at the Bauhaus in Dessau, developed them further during his tenure at the art academy in Dusseldorf, and brought them to conclusion after his return to Switzerland in 1933. In this book, distinguished art historian Oskar Batschmann explores Klee's seminal painting Ad Parnassum (1932). Painted shortly after the artist's departure from the Bauhaus, it symbolises a new era, also one of Klee's own self-discovery. Batschmann documents how the artist strove for a connection of music and painting in his colour hues and in the rhythmic movement of coloured dots. Richly illustrated, this book places Klee's polyphonic understanding of art in an art-historical context by using this key work and offers insight into the synesthetic thinking that emerged in the art world during that time. Text in English and German.

Jewish designers and architects played a key role in shaping the interwar architecture of Central Europe, and in the respective countries where they settled following the Nazi's rise to power. This book explores how Jewish architects and patrons influenced and reformed the design of towns and cities through commercial buildings, urban landscaping and other material culture. It also examines how modern identities evolved in the context of migration, commercial and professional networks, and in relation to the conflict between nationalist ideologies and international aspirations in Central Europe and beyond. Pointing to the production within cultural platforms shared by Jews and Christians, the book's research sheds new light on the importance of integrating Jews into Central European design and aesthetic history. Leading historians, curators, archivists and architects present their critical analyses further to 'design' the past and push forward a transformation in the historical consciousness of Central Europe. By reconsidering the seminal role of Central European emigre and exiled architects and designers in shaping today's global design cultures, this book further strengthens humanistic, progressive and pluralistic cultural trends in Europe today.

This new addition to Prestel's successful "50s" series focuses on Art Deco, an artistic movement that originated in France after World War I and spread throughout Europe and America. Presented chronologically in full-page illustrations accompanied by explanatory texts, these fifty iconic examples demonstrate the variety of ways Art Deco was expressed. Included here are a soup tureen designed by Jean Puiforcat; Edward Steichen's portrait of Fred Astaire; a brass-framed mirror by Austrian Franz Hagenauer; a still from the Busby Berkeley film, Footlight; and a self-portrait by the Polish painter Tamara de Lempicka. Other examples include jewellery, architecture, posters and items used in everyday life. Opening with an authoritative overview of the Art Deco movement and including biographies of each of the artists, this is a compact and affordable reference work

Ideal homes investigates the tastes and aspirations of the new suburban communities that emerged in Britain following the First World War. In a period when homeownership was becoming the norm, these communities sought out varieties of architecture and design that were both nostalgic and modern, reflecting longings for 'Old England' on the one hand and technological convenience on the other. The book draws on exhibitions, memoirs, advertisements and films, as well as surviving examples of suburban architecture and interiors, to identify a distinctively suburban modernism, embodied by the Tudorbethan semi. Arguing that the 'ideal' home of the period was both a retreat from the outside world and a site of change and experimentation, it concludes by considering how such houses are lived in today. This new edition also features an introductory chapter on researching the history of your own home. -- .

Working from a discourse analysis perspective, MA1/4ller examines how a national art history was constituted through its linguistic construction and transmission. The study demonstrates how German art history was a ~manufactureda (TM) through language, particularly in the 19th and 20th centuries. The study operates at the interface between text linguistics, the history of concepts and the history of words and makes an important contribution to the history of national consciousness.

A lavishly illustrated survey of American Art Deco architecture.

Art deco flourished in cities and small towns throughout America during the 1920s and 1930s. Extremely popular as a statement of modernity and technological progress, art deco movie palaces, dime stores, department stores, courthouses, and schools were ubiquitous in the American landscape; numerous examples of the style continue to be viable spaces.

American art deco was unique. Unlike their European counterparts, architects in the United States had "exotic" indigenous cultures for inspiration. Arts such as Navajo chiefs' blankets, Hopi pottery, and Sioux beadwork, characterized by geometric ornament, were easily assimilated into the art deco style. Regionalism—a good example of which is the Prairie style, advocated by Frank Lloyd Wright and other progressive architects—also influenced American art deco. America's pioneering and westward migration provided powerful themes and motifs, producing an art deco with authentic national and regional characteristics.

American Deco features descriptions—and over 500 color photographs—of 75 opulent buildings across the country that have been preserved. The photographs document interiors, exteriors, and details of deco skyscrapers, courthouses, theaters, and other significant buildings.

Reconsidering the status and meaning of Bauhaus objects in relation to the multiple re-tellings of the schoola (TM)s history, this volume positions art objects of the Bauhaus within the theoretical, artistic, historical, and cultural concerns in which they were produced and received.

Contributions from leading scholars writing in the field today - including Frederic J. Schwartz, Magdalena Droste, and Alina Payne - offer an entirely new treatment of the Bauhaus. Issues such as art and design pedagogy, the practice of photography, copyright law, and critical theory are discussed. Through a strong thematic structure, new archival research and innovative methodologies, the questions and subsequent conclusions presented here re-examine the history of the Bauhaus and its continuing legacy. Essential reading for anyone studying the Bauhaus, modern art and design.

Focusing on Art Deco graphic art and illustration, this gorgeous new book features fascinating text on the movement in general, fashion and advertising, accompanied by beautiful reproductions of work by talents such as Barbier, Erte, Cassandre and Colin. Sympathetic examples of other forms of Art Deco are also included.

This new edited volume of critical essays examines designs for modern living in Asia between 1945 and 1990. Focusing particularly on the post-World War II and postcolonial years, this book advances multidisciplinary knowledge on approaches to and designs for modern living. Developed from extensive primary research and case studies, each essay illuminates commonalities and particularities of the trajectories of Modernism and notions of modernity, their translation and manifestation in life across Asia through design. Authors address everyday negotiations and experiences of being modern by studying exhibitions, architecture, modern interiors, printed ephemera, literary discourses, healthy living movements and transnational networks of modern designers. They examine processes of exchange between people, institutions and with governments, in and across Asia, as well as with the USA and countries in Western Europe. This book highlights the ways in which the production and discourses of modern design were underscored by economic advancement and modernization processes, and fuelled by aesthetic debates on modern design. Critically exploring design for modern living in Asia, this book offers fresh perspectives on Modernism to students and scholars.

The first major work to examine Joseph Cornell's relationship to American modernism Joseph Cornell (1903-1972) is best known for his exquisite and alluring box constructions, in which he transformed found objects-such as celestial charts, glass ice cubes, and feathers-into enchanted worlds that blur the boundaries between fantasy and the commonplace. Situating Cornell within the broader artistic, cultural, and political debates of midcentury America, this innovative and interdisciplinary account reveals enchantment's relevance to the history of American modernism. In this beautifully illustrated book, Marci Kwon explores Cornell's attempts to convey enchantment-an ephemeral experience that exceeds rational explanation-in material form. Examining his box constructions, graphic design projects, and cinematic experiments, she shows how he turned to formal strategies drawn from movements like Transcendentalism and Romanticism to figure the immaterial. Kwon provides new perspectives on Cornell's artistic and graphic design career, bringing vividly to life a wide circle of acquaintances that included artists, poets, writers, and filmmakers such as Mina Loy, Lincoln Kirstein, Frank O'Hara, and Stan Brakhage. Cornell's participation in these varied milieus elucidates enchantment's centrality to midcentury conversations about art's potential for power and moral authority, and reveals how enchantment and modernity came to be understood as opposing forces. Leading contemporary artists such as Betye Saar and Carolee Schneemann turned to Cornell's enchantment as a resource for their own anti-racist, feminist projects. Spanning four decades of the artist's career, Enchantments sheds critical light on Cornell's engagement with many key episodes in American modernism, from Abstract Expressionism, 1930s "folk art," and the emergence of New York School poetry and experimental cinema to the transatlantic migration of Symbolism, Surrealism, and ballet.

One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.

This book complements the more textually-based Bauhaus scholarship with a practice-oriented and creative interpretive method, which makes it possible to consider Bauhaus-related works in an unconventional light. Edit Toth argues that focusing on the functionalist approach of the Bauhaus has hindered scholars from properly understanding its design work. With a global scope and under-studied topics, the book advances current scholarly discussions concerning the relationship between image technologies and the body by calling attention to the materiality of image production and strategies of re-channeling image culture into material processes and physical body space, the space of dimensionality and everyday activity.