In 1940, America's favorite illustrator Norman Rockwell, his wife Mary and their three sons moved to the picturesque rural village of West Arlington, Vermont. The artist discovered a treasure trove of models. Norman Rockwell's Models: In and out of the Studio is the first to detail these models' lives, friendships with the artist, and experiences in his studio. Dressed in quaint work clothing, the models were dairy farmers, carpenters, country doctors, soldiers, and mechanics. Norman Rockwell's Models features non-fiction narratives telling the story of these folks during an era when they helped the war effort, farmed with horses, and received home visits from doctors. The book also describes the challenges the models faced in their own lives and how these affected their expressions in the paintings. For example, in several 1945 masterpieces, the jubilance Americans felt after the close of the second word war is revealed in their faces. Upon meeting people, young or old, the artist would say, "Call Me Norman." Rockwell learned the models' roles in the community and their personalities, which fostered genuine paintings. He strove, for example, to find real-life soldiers to model as WWII heroes and spirited boys and girls for lively paintings. In the studio, Norman was charming and polite, but painstaking. He demonstrated poses and did whatever was necessary to evoke his trademark expressions, including telling stories of his own life, sometimes laughing or crying. Spending entire summers at his family's farmhouse near West Arlington, Vermont, the author, S.T. Haggerty, grew up knowing many models, including those who posed for such iconic works as Freedom of Speech, Breaking Home Ties, and Girl at the Mirror. Along with models and their families, the author hayed the scenic fields in the Batten Kill River Valley and swam under the red covered bridge on the Village Green. This experiences give him a unique perspective for telling this story.

Deco dandy contests the supposedly exclusive feminine aspect of the style moderne (art deco) by exploring how alternative, parallel and overlapping experiences of decorative modernism, nationalism, gender and sexuality in the years surrounding World War I converge in the protean figure of the 'deco dandy'. The book suggests a broader view of art deco by claiming a greater place for the male body, masculinity and the dandy in this history than has been given to date. Important and productive moments in the history of the cultural life of Paris presented in the book provide insights into the changing role performed by consumerism, masculinity, design history and national identity. -- .

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.

George Barbier (1882-1932) is one of the great French illustrators of the early twentieth century. He is famous for his elegant art deco works that were heavily influenced by orientalism and Parisian couture. Born in Nantes, France in 1882, he skyrocketed to fame and notoriety after his first exhibition in 1911. Known as one of "the knights of the bracelet" for his luxurious and glamorous lifestyle and work, George Barbier also received renown for costumes and set designs he did for theater, film, and ballet. Even today, his modern and stylish illustrations are popular all over the world.
With critical essays on such topics as coloration and composition, this volume is a complete compendium of Barbier's work. This valuable reference book is categorized by Barbier's major projects in fashion, book illustration, theater art, and editorial design and is perfect for illustrators and graphic designers as well as a beautiful gift for someone very special.

The fascinating untold story of how Nazi architects and planners envisioned and began to build a model "Aryan" society in Norway during World War II Between 1940 and 1945, German occupiers transformed Norway into a vast construction zone. This remarkable building campaign, largely unknown today, was designed to extend the Greater German Reich beyond the Arctic Circle and turn the Scandinavian country into a racial utopia. From ideal new cities to a scenic superhighway stretching from Berlin to northern Norway, plans to remake the country into a model "Aryan" society fired the imaginations of Hitler, his architect Albert Speer, and other Nazi leaders. In Hitler's Northern Utopia, Despina Stratigakos provides the first major history of Nazi efforts to build a Nordic empire-one that they believed would improve their genetic stock and confirm their destiny as a new order of Vikings. Drawing on extraordinary unpublished diaries, photographs, and maps, as well as newspapers from the period, Hitler's Northern Utopia tells the story of a broad range of completed and unrealized architectural and infrastructure projects far beyond the well-known German military defenses built on Norway's Atlantic coast. These ventures included maternity centers, cultural and recreational facilities for German soldiers, and a plan to create quintessential National Socialist communities out of twenty-three towns damaged in the German invasion, an overhaul Norwegian architects were expected to lead. The most ambitious scheme-a German cultural capital and naval base-remained a closely guarded secret for fear of provoking Norwegian resistance. A gripping account of the rise of a Nazi landscape in occupied Norway, Hitler's Northern Utopia reveals a haunting vision of what might have been-a world colonized under the swastika.

This is the most thorough and detailed monograph on the artwork of Raymond Jonson. He is one of many artists of the first half of the twentieth-century who demonstrate the richness and diversity of an under-appreciated period in the history of American art. Visualizing the spiritual was one of the fundamental goals of early abstract painting in the years before and during World War I. Artists turned to alternative spirituality, the occult, and mysticism, believing that the pure use of line, shape, color, light and texture could convey spiritual insight. Jonson was steadfastly dedicated to this goal for most of his career and he always believed that modernist and abstract styles were the most effective and compelling means of achieving it.

Light as Experience and Imagination from Medieval to Modern Times synthesizes and interpretates the experience of light as revealed in a wide range of art and literature from medieval to modern times. The true subject of the book is making sense of the individual's relationship with light, rather than the investigation of light's essential nature. It tells the story of light "seducing" individuals from the Middle Ages to our modern times. Consequently, it is not concerned with the "progress" of scientific inquiries into the physical properties and behavior of light (optical science), but rather with subjective reactions as reflected in art, architecture, and literature. Instead of its evolution, this book celebrates the complexity of our relation to light's character. No individual experience of light being "truer" than any other.

"A Poiret dress, a Catholic shrine in France, Thomas Walliss Hoover Factory building, an Edna Manley sculpture, the poetry of Bei Dao, the internal combustion engine- what makes such artifacts modernist? Disciplining Modernism explores the different ways disciplines conceive modernism and modernity, undisciplining modernist studies in the process"--Provided by publisher.

The newly revised and updated Charleston: A Bloomsbury House & Garden is the definitive publication on the Bloomsbury Group's rural outpost in the heart of the Sussex Downs. "It's absolutely perfect...", wrote the artist Vanessa Bell when she moved to Charleston in 1916. For fifty years, Vanessa and her fellow painter Duncan Grant lived, loved and worked in this isolated Sussex farmhouse, together transforming the house and garden into an extraordinary work of art and creating a rural retreat for the Bloomsbury group. Now, Vanessa's son, Quentin Bell, and her granddaughter Virginia Nicholson tell the inside story of their family home, linking it with some of the pioneering cultural figures who spent time there, including Vanessa's sister Virginia Woolf, the economist Maynard Keynes, the writer Lytton Strachey and the art critic Roger Fry. Taking readers through each room of the house - from Clive Bell's Study, the Dining Room, the Kitchen and the Garden Room, through to individual bedrooms, the Studios and the Library - Quentin Bell relives old memories, including having T.S. Eliot over for a dinner party and staging plays in the Studio, while Virginia Nicholson details the artistic techniques (stencilling, embroidery, painting, sculpture, ceramics and more) used to embellish and enliven the once simple farmhouse. In this refreshed edition of the original 1997 publication, Gavin Kingcombe's specially commissioned photographs breathe life into the colourful interiors and garden of the Sussex farmhouse, while updated text and captions by Virginia Nicholson capture the evolution of Charleston as it continues to inspire a new generation. For lovers of literature, decorative arts, and all things Bloomsbury, Charleston: A Bloomsbury House & Garden offers a window onto a truly unique creative hub.

This book examines the art of Cobra, a network of poets and artists from Copenhagen, Brussels, and Amsterdam (1948-1951). Although the name stood for the organizers' home cities, the Cobra artists hailed from countries in Europe, Africa, and the United States. This book investigates how a group of struggling young artists attempted to reinvent the international avant-garde after the devastation of the Second World War, to create artistic experiments capable of facing the challenges of postwar society. It explores how Cobra's experimental, often collective art works and publications relate to broader debates in Europe about the use of images to commemorate violent events, the possibility of free expression in an art world constrained by Cold War politics, the breakdown of primitivism in an era of colonial independence movements, and the importance of spontaneity in a society increasingly dominated by the mass media. This book will be of interest to scholars in art history, 20th-century modern art, avant-garde arts, and European history.

Madrid on the move illustrates print culture and the urban experience in nineteenth-century Spain. It provides a fresh account of modernity by looking beyond its canonical texts, artworks, and locations and explores what being modern meant to people in their daily lives. Rather than shifting the loci of modernity from Paris or London to Madrid, this book decentres the concept and explains the modern experience as part of a more fluid, global phenomenon. Meanings of the modern were not only dictated by linguistic authorities and urban technocrats; they were discussed, lived, and constructed on a daily basis. Cultural actors and audiences displayed an acute awareness of what being modern entailed and explored the links between the local and the global, two concepts and contexts that were being conceived and perceived as inseparable. -- .

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, Laszlo Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stolzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. "Bauhaus 1919-1933: Workshops for Modernity," published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), "Bauhaus 1919-1933" examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, "Bauhaus 1919-1933" includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.

In 1934 Alcoa introduced a revolutionary new line of aluminum alloy giftware and domestic items designed by American pioneer industrial designer Lurelle Guild. Called Kensington Ware, these relatively expensive, slick, machine-age objects were in an unmistakenly Art Deco style with cast brass accents. They represent an important American contribution to modern design and decorative arts. The Kensington plant ceased production around 1970, and collectors have recently been scooping up these compelling objects in the antique and collectible markets. This is the first book to tell the Kensington story and identify, value, and illustrate the aluminum in 375 color, vintage, and black-and-white illustrations. It is a must for anyone interested in aluminum, Art Deco, and the machine-age in America.

In a fleeting 14-year period between two world wars, Germany's Bauhaus school of art and design changed the face of modernity. With utopian ideas for the future, the school developed a pioneering fusion of fine art, craftsmanship, and technology, which they applied across media and practices from film to theater, and sculpture to ceramics. This best-selling reference work is made in collaboration with the Bauhaus-Archiv/Museum fur Gestaltung in Berlin, the world's largest collection on the history of the Bauhaus. Some 575 illustrations including architectural plans, studies, photographs, sketches, and models record not only the realized works but also the leading principles and personalities of this idealistic creative community through its three successive locations in Weimar, Dessau, and Berlin. From informal shots of group gymnastics to drawings guided by Paul Klee, from extensive architectural plans to an infinitely sleek ashtray by Marianne Brandt, the collection brims with the colors, materials, and geometries that made up the Bauhaus vision of a "total" work of art. This is a defining account of Bauhaus' energy and rigor, not only as a trailblazing movement in Modernism but also as a paradigm of art education, where creative expression and cutting-edge ideas led to simultaneously functional and beautiful creations. The handy edition features artists Josef Albers, Marianne Brandt, Walter Gropius, Gertrud Grunow, Paul Klee, Ludwig Mies van der Rohe, Lilly Reich, and many more. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

Art Deco style, with its modern forms, rich colors, and brilliant glazes, appeared on the scene by 1910, exploded into great heights of popularity by 1925, and remained popular throughout the 1930s. In 475 brilliant color images worthy of the movement, the Art Deco decorated porcelains from Limoges, France, are displayed. While centering on the work of the talented artist Camille Tharaud, examples from Robj, Edouard Marcel Sandoz, Suzanne Lalique, and Royal Limoges are also included. Among the wares presented are over 500 delicate vases, tea sets, figurines, covered boxes and bowls, plates, and night lights. Additionally, Art Deco patterns and company names, direct from the pattern books of Gerard, Dufraisseix, Abbot, are on display.\nThe detailed text provides an indepth look at Camille Tharaud and his work, with an extensive bibliography, and index. Value ranges for the wares displayed are found in the captions.

Social groups formed around shared religious beliefs encountered significant change and challenges between the 1860s and the 1970s. This book is the first collection of essays of its kind to take a broad, thematically-driven case study approach to this genre of architecture and its associated visual culture and communal experience. Examples range from Nuns' holy spaces celebrating the life of St Theresa of Lisieux to utopian American desert communities and their reliance on the philosophy of Teilhard de Chardin. Modern religious architecture converses with a broad spectrum of social, anthropological, cultural and theological discourses and the authors engage with them rigorously and innovatively. As such, new readings of sacred spaces offer new angles and perspectives on some of the dominant narratives of the nineteenth, twentieth and twenty-first centuries: empire, urban expansion, pluralism and modernity. In a post-traditional landscape, religious architecture suggests expansive ways of exploring themes including nostalgia and revivalism; engineering and technological innovation; prayer and spiritual experimentation; and the beauty of holiness for a brave new world. Shaped by the tensions and anxieties of the modern era and powerfully expressed in the space and material culture of faith, the architecture presented here creates a set of new turning points in the history of the built environment.

The design revolutions of the early 20th century were woven into the very fabric of the carpets and rugs of that era. Carpets of the Art Deco Era, previously published as Art Deco and Modernist Carpets and now reissued in PLC, is the first in-depth history on the subject. It charts the evolution of carpet design out of the floral effusions of the Victorian salons and into the angular elegance of Art Deco and bold abstraction of Modernism popularized by the machine age. Such artists and designers as Picasso, Poiret, Gray, Delaunay, Matisse, Klee, and many more advanced the designs going on underfoot, making these rugs extremely collectible artworks in their own right. Generously sized and beautifully illustrated with over 250 colour photographs, here are Art Deco carpets at their most glorious.