For self-made artist and soldier Horace Pippin-who served in the 369th all-black infantry in World War I until he was wounded-war provided a formative experience that defined much of his life and work. His ability to transform combat service into canvases of emotive power, psychological depth, and realism showed not only how he viewed the world but also his mastery as a painter. In Suffering and Sunset, Celeste-Marie Bernier painstakingly traces Pippin's life story of art as a life story of war. Illustrated with more than sixty photographs, including works in various mediums-many in full color-this is the first intellectual history and cultural biography of Pippin. Working from newly discovered archives and unpublished materials, Bernier provides an in-depth investigation into the artist's development of an alternative visual and textual lexicon and sheds light on his work in its aesthetic, social, and political contexts. Suffering and Sunset illustrates Pippin's status as a groundbreaking artist as it shows how this African American painter suffered from but also staged many artful resistances to racism in a white-dominated art world.

Danish Modern explores the development of mid-century modernist design in Denmark from historical, analytical and theoretical perspectives. Mark Mussari explores the relationship between Danish design aesthetics and the theoretical and cultural impact of Modernism, particularly between 1930 and 1960. He considers how Danish designers responded to early Modernist currents: the Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic demands, their early fealty to wood and materials, and the tension between cabinetmaker craft and industrial production as it challenged and altered their aesthetic approach. Tracing the theoretical foundations for these developments, Mussari discusses the writings and works of such figures as Poul Henningsen, Arne Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl.

Miami Modernism, or MiMo, is the exotic brand of mid-century architecture ubiquitous in the world-famous city. ""Designing the Good Life"" is a personal account of the post - World War II movement that shaped a city and defined an era. This captivating story offers a unique look at the architecture of Norman M. Giller, one of the early godfathers of MiMo. Giller made an indelible mark on the urban landscape with architecturally progressive structures ideally suited to their surroundings. Discussing technologies, materials, and the key elements of MiMo, Giller offers an insider's view. He delves into Miami's architectural history to examine some of his most iconic structures, including the Ocean Palm Motel, the Carillon Hotel, the North Shore Band Shell, the Diplomat Hotel and Country Club, and the Giller Building. Each project is lavishly illustrated with vintage images from the architect's exclusive collection and contemporary photographs by Miami photographer Robin Hill. The only book to chronicle the movement's evolution from the perspective of one of its most distinguished exponents, ""Designing the Good Life"" reveals how Giller's vision helped to define Florida architecture since World War II.

Charles Rennie Mackintosh's finest work dates from about a dozen intensely creative years around 1900. His buildings in Glasgow, and especially his craggy masterpiece the Glasgow School of Art, are more complex and playful than anything in Britain at that time. His interiors, many of them designed in collaboration with his wife, Margaret Macdonald, are both spare and sensuous, creating a world of heightened aesthetic sensibility. Finally, during the 1920s, he painted a series of watercolours which are as original as anything he had done before. Since his death, Mackintosh has been lauded as a pioneer of the Modern Movement and as a master of Art Nouveau. This book, with illustrations that include specially prepared plans and sections, takes a clear-eyed view of Mackintosh and his achievement, stripping away the myths to reveal a designer of extraordinary sophistication and inventiveness.

The production of this book stems from two of the editors' longstanding research interests: the representation of architecture in print media, and the complex identity of the second phase of modernism in architecture given the role it played in postwar reconstruction in Europe. While the history of postwar reconstruction has been increasingly well covered for most European countries, research investigating postwar architectural magazines and journals across Europe - their role in the discourse and production of the built environment and particularly their inter-relationship and differing conceptions of postwar architecture - is relatively undeveloped. Modernism and the Professional Architecture Journal sounds out this territory in a new collection of essays concerning the second phase of the reception and assimilation of modernism in architecture, as it was represented in professional architecture journals during the period of postwar reconstruction (1945-1968). Professional architecture journals are often seen as conduits of established facts and knowledge. The role mainstream publications play, however, in establishing 'movements', 'trends' or 'debates' tends to be undervalued. In the context of the complex undertaking of postwar reconstruction, the shortage of resources, political uncertainty and the biographical complexities of individual architects, the chapters on key European architecture journals collected here reveal how modernist architecture, and its discourse, was perceived and disseminated in different European countries.

The Bauhaus Journal, now published in this gorgeous facsimile, is the ultimate testimony to the school's diversity and impact One hundred years after the founding of the Bauhaus, it's time to revisit Bauhaus, the school's journal, as a crucial testimony of this iconic moment in the history of modern art. This gorgeously produced, slipcased, 14-volume publication features facsimiles of individual issues of the journal, as well as a commentary booklet including an overview of the content, English translations of all texts and a scholarly essay that places the journal in its historical context. Even during its existence, the influence of the Bauhaus school extended well beyond the borders of Europe, and its practitioners played a formative role in all areas of art, design and architecture. The school's international reach and impact is particularly evident in its journal. Bauhaus Journal was published periodically under the direction of Walter Gropius and L szl Moholy-Nagy, among others, from 1926 to 1931. In its pages, the most important voices of the movement were heard: Bauhaus masters and artists associated with the school such as Josef Albers, Wassily Kandinsky, Paul Klee, Oskar Schlemmer, Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld and many more. The centenary of the Bauhaus provides an ideal opportunity to reassess this history, to consider the ideals of the school and its protagonists through this graphically innovative publication.

Torn Modernism illuminates an important moment in the history of the Kunstmuseum Basel's collection. In 1937 the Nazi cultural policy denounced thousands of works as "degenerate" and forcibly removed from German museums. The Third Reich's Ministry of Propaganda correctly assumed that a portion of such works would find buyers abroad, in this way certain artworks deemed "internationally exploitable" reached the art market via various channels. Georg Schmidt (1896-1966), the museum's director at the time, managed in 1939 to acquire the Painting Animal Destinies by Franz Marc (1880-1916) and twenty avant-garde masterpieces all at once. In the catalogue, renowned experts trace the events based on the seizures in German museums and explain the historical contexts. The actors of the institutions and the art market are presented, and the Nazi regime's act of cultural violence is revealed, which resulted in an artificial fragmentation of Modernism into art that was "exploitable" on the one hand, and art that had been destroyed or forgotten on the other. Contributions on the auction of the Galerie Fischer in Lucerne, on Georg Schmidt's approach, and on the classification of the acquisitions in the context of Basel's collection history bring specific Swiss aspects into focus.

The book investigates the theme of Modernism (1920-1960 and its epigones) as an integral part of tangible and intangible cultural heritage which contains the result of a whole range of disciplines whose aim is to identify, document and preserve the memory of the past and the value of the future. Including several chapters, it contains research results relating to cultural heritage, more specifically Modernism, and current digital technologies. This makes it possible to record and evaluate the changes that both undergo: the first one, from a material point of view, the second one from the research point of view, which integrates the traditional approach with an innovative one. The purpose of the publication is to show the most recent studies on the modernist lexicon 100 years after its birth, moving through different fields of cultural heritage: from different forms of art to architecture, from design to engineering, from literature to history, representation and restoration. The book appeals to scholars and professionals who are involved in the process of understanding, reading and comprehension the transformation that the places have undergone within the period under examination. It will certainly foster the international exchange of knowledge that characterized Modernism

The architecture of post-war Modernism poses particular challenges for building research and heritage preservation. Should its methods be adapted to the often prefabricated nature of the buildings? How should we rate these buildings, of which there are still a great many in existence, in terms of monument preservation? What challenges does modernizing them pose? Can individual components be replaced with mass-produced items without this detracting from the building's heritage-listed status? What are the risks in relation to certain materials that have since come to be classified as toxic? What strategies of knowledge distribution should be applied for buildings of post-war Modernism? At the MONUMENTO in Salzburg in 2018 and 2020, seasoned experts addressed these fundamental issues of preserving listed buildings with reference to selected projects.