This book explores how popular photography influenced the representation of travel in Britain in the period from the Kodak-led emergence of compact cameras in 1888, to 1939. The book examines the implications of people's increasing familiarity with the language and possibilities of photography on the representation of travel as educational concerns gave way to commercial imperatives. Sara Dominici takes as a touchstone the first fifty years of activity of the Polytechnic Touring Association (PTA), a London-based philanthropic-turned-commercial travel firm. As the book reveals, the relationship between popular photography and travel marketing was shaped by the different desires and expectations that consumers and institutions bestowed on photography: this was the struggle for the interpretation of the travel image.

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.

The name De Stijl, title of a magazine founded in the Netherlands in 1917, is now used to identify the abstract art and functional architecture of its major contributors: Mondrian, Van Doesburg, Van der Leck, Oud, Wils and Rietveld. De Stijl achieved international acclaim by the end of the 1920s and its paintings, buildings and furniture made fundamental contributions to the modern movement. This book is the first to emphasize the local context of De Stijl and explore its relationship to the distinctive character of Dutch modernism. It examines how the debates concerning abstraction in painting and spatiality in architecture were intimately connected to contemporary developments in the fields of urban planning, advertising, interior design and exhibition design. The book describes the interaction between the world of mass culture and the fine arts.

With his geometric structures perched upon the hillsides, beaches, and deserts of California, John Lautner (1911-1994) was behind some of the most striking and innovative architectural designs in mid-20th-century America. This introductory book brings together the most important of Lautner's projects to explore his his ingenious use of modern building materials and his bold stylistic repertoire of sweeping rooflines, glass-paneled walls, and steel beams. From commercial buildings to such iconic homes as the Chemosphere, we look at Lautner's sensitivity to a building's surroundings and his unique capacity to integrate structures into the Californian landscape. With several of Lautner's houses now labeled Los Angeles Historic-Cultural Monuments, we'll also consider the architect's cultural legacy, as much as his pioneering of a visual paradigm of 1950s optimism, economic growth, and space-age adventure. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Architecture series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts, and plans)

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.

European modernism underwent a massive change from 1930 to 1960, as war altered the cultural landscape. This account of artists and writers in France and England explores how modernism survived under authoritarianism, whether Fascism, National Socialism, or Stalinism, and how these artists endured by balancing complicity and resistance.

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.

A century after the Bauhaus's founding in 1919, this book reassesses it as more than a highly influential art, architecture, and design school. In myriad ways, emerging ideas about the body in relation to health, movement, gender, and sexuality were at the heart of art and life at the school. Bauhaus Bodies reassesses the work of both well-known Bauhaus members and those who have unjustifiably escaped scholarly scrutiny, its women in particular. In fourteen original, cutting-edge essays by established experts and emerging scholars, this book reveals how Bauhaus artists challenged traditional ideas about bodies and gender. Written to appeal to students, scholars, and the broad public, Bauhaus Bodies will be essential reading for anyone interested in modern art, architecture, design history, and gender studies; it will define conversations and debates during the 2019 centenary of the Bauhaus's founding and beyond.

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.

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.

A fun and fact-filled introduction to the dismissed Black art masters and models who shook up the world. Elegant. Refined. Exclusionary. Interrupted. The foundations of the fine art world are shaking. Beyonce and Jay-Z break the internet by blending modern Black culture with fine art in their iconic music video filmed in the Louvre. Kehinde Wiley powerfully subverts European masterworks. Calls resonate for diversity in museums and the resignations of leaders of the old guard. It's clear that modern day museums can no longer exist without change-and without recognizing that Black people have been a part of the Western art world since its beginnings. Quietly held within museum and private collections around the world are hundreds of faces of Black men and women, many of their stories unknown. From paintings of majestic kings to a portrait of a young girl named Isabella in Amsterdam, these models lived diverse lives while helping shape the art world along the way. Then, after hundreds of years of Black faces cast as only the subject of the white gaze, a small group of trailblazing Black American painters and sculptors reached national and international fame, setting the stage for the flourishing of Black art in the 1920s and beyond. Captivating and informative, BLK ART is an essential work that elevates a globally dismissed legacy to its proper place in the mainstream art canon. From the hushed corridors of royal palaces to the bustling streets of 1920s Paris-this is Black history like never seen before.

Through the first thoroughly annotated examination of books, articles, exhibition catalogs, and unpublished dissertations, the Art Nouveau period (1890-1905) is revealed as an era dedicated to design reform in all areas of the visual arts. An introductory essay examines the central issues addressed in the literature of the era: the unification of the arts, the necessity for change, the diversion from historical sources, and the importance of providing new directions with new materials. This opening essay presents the ways in which the bibliography is organized. Architecture, interior decoration, furniture, jewelry, bookbinding, posters, ceramics, glass, wallpaper, and textiles, are the subjects of critical documentation; annotated bibliographic entries provide evidence for the spread of design changes in France, Belgium, England, and the United States. These annotated entries are drawn from substantial literature of the actual period under investigation; later publications (until 1996) demonstrate the changes in ways in which the Art Nouveau period has been studied. The entries provide a chronological dimension to the critical literature, they also demonstrate the ways in which certain artists or issues have been studied at given moments in time.

This book explores how popular photography influenced the representation of travel in Britain in the period from the Kodak-led emergence of compact cameras in 1888, to 1939. The book examines the implications of people's increasing familiarity with the language and possibilities of photography on the representation of travel as educational concerns gave way to commercial imperatives. Sara Dominici takes as a touchstone the first fifty years of activity of the Polytechnic Touring Association (PTA), a London-based philanthropic-turned-commercial travel firm. As the book reveals, the relationship between popular photography and travel marketing was shaped by the different desires and expectations that consumers and institutions bestowed on photography: this was the struggle for the interpretation of the travel image.

This innovative study considers one of the most important art and design movements of the 20th century, the Bauhaus, in conjunction with current research in public relations and organizational communication, elaborating on the mechanisms of internal and external communication available to influence the stakeholders in politics, society, industry, and the art world. In a movement where a substantial share of productivity ran in measures to highlight the public value of the institution funded by the taxpayer, the directors, and other persons in charge, the Bauhaus developed comprehensive strategies to communicate their messages to a variety of target groups such as politicians and economic leaders, intellectuals and other artists, current and prospective students, and the general public. To achieve this goal, the Bauhaus anticipated many instruments of modern public relations and corporate communications, including press releases, staging of events, media publications, community building, lobbying, and the creation of nationwide public presence. Roessler argues that as an organization, the Bauhaus cultivated corporate behavior and, most prominently, a corporate design which unfolded revolutionary power. The basic achievements of new typography (a label coined at the Bauhaus) determine visual communication to this day, while the Bauhaus moved from an institutional organization to a community. Beginning with an overview of the Bauhaus' corporate identity and a close examination of the respective directors' roles for internal and external communication, this book visits exhibitions, events, and the media attention they evoked in newspapers and contemporary periodicals, along with media products designed at the Bauhaus such as magazines, books, and bank notes.

By examining the studios and studio-houses used by British artists between 1900 and 1940, this book reveals the ways in which artists used architecture - occupying and adapting Victorian studios and commissioning new ones. In doing so, it shows them coming to terms with the past, and inventing different modes of being modern, collaborating with architects and shaping their work. In its scrutiny of the physical surroundings of artistic life during this period, the book sheds insight into how the studio environment articulated personal values, artistic affinities and professional aspirations. Not only does it consider the studio in terms of architectural design, but also in the light of the artist's work and life in the studio, and the market for contemporary art. By showing how artists navigated the volatile market for contemporary art during a troubled time, the book provides a new perspective on British art.

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!

The Wilhelmine Empire's opening decades (1870s - 1880s) were crucial transitional years in the development of German modernism, both politically and culturally. Here Marsha Morton argues that no artist represented the shift from tradition to unsettling innovation more compellingly than Max Klinger. The author examines Klinger's early prints and drawings within the context of intellectual and material transformations in Wilhelmine society through an interdisciplinary approach that encompasses Darwinism, ethnography, dreams and hypnosis, the literary Romantic grotesque, criminology, and the urban experience. His work, in advance of Expressionism, revealed the psychological and biological underpinnings of modern rational man whose drives and passions undermined bourgeois constructions of material progress, social stability, and class status at a time when Germans were engaged in defining themselves following unification. This book is the first full-length study of Klinger in English and the first to consistently address his art using methodologies adopted from cultural history. With an emphasis on the popular illustrated media, Morton draws upon information from reviews and early books on the artist, writings by Klinger and his colleagues, and unpublished archival sources. The book is intended for an academic readership interested in European art history, social science, literature, and cultural studies.

This innovative study considers one of the most important art and design movements of the 20th century, the Bauhaus, in conjunction with current research in public relations and organizational communication, elaborating on the mechanisms of internal and external communication available to influence the stakeholders in politics, society, industry, and the art world. In a movement where a substantial share of productivity ran in measures to highlight the public value of the institution funded by the taxpayer, the directors, and other persons in charge, the Bauhaus developed comprehensive strategies to communicate their messages to a variety of target groups such as politicians and economic leaders, intellectuals and other artists, current and prospective students, and the general public. To achieve this goal, the Bauhaus anticipated many instruments of modern public relations and corporate communications, including press releases, staging of events, media publications, community building, lobbying, and the creation of nationwide public presence. Roessler argues that as an organization, the Bauhaus cultivated corporate behavior and, most prominently, a corporate design which unfolded revolutionary power. The basic achievements of new typography (a label coined at the Bauhaus) determine visual communication to this day, while the Bauhaus moved from an institutional organization to a community. Beginning with an overview of the Bauhaus' corporate identity and a close examination of the respective directors' roles for internal and external communication, this book visits exhibitions, events, and the media attention they evoked in newspapers and contemporary periodicals, along with media products designed at the Bauhaus such as magazines, books, and bank notes.

The aesthetic of our contemporary environment, including everything from housing developments to furniture and websites, is partly the result of a school of art and design founded in Germany in 1919, the Bauhaus. While in operation for only fourteen years before being shut down by the Nazis in 1933, the school left an indelible mark on design as well as the practice of art education throughout the world. Placing the Bauhaus into its socio-historic context, Frank Whitford traces the ideas behind the school's conception and describes its teaching methods. He examines the activities of the teachers, who included artists as eminent as Paul Klee, Josef Albers and Wassily Kandinsky, and the daily lives of the students. This remains the most accessible and highly illustrated introduction to perhaps the most significant design movement of the last hundred years.

For most of the twentieth century, modernist viewers dismissed the architectural ornament of Louis H. Sullivan (1856-1924) and the majority of his theoretical writings as emotional outbursts of an outmoded romanticism. In this study, Lauren Weingarden reveals Sullivan's eloquent articulation of nineteenth-century romantic practices - literary, linguistic, aesthetic, spiritual, and nationalistic - and thus rescues Sullivan and his legacy from the narrow role imposed on him as a pioneer of twentieth-century modernism. Using three interpretive models, discourse theory, poststructural semiotic analysis, and a pragmatic concept of sign-functions, she restores the integrity of Sullivan's artistic choices and his historical position as a culminating figure within nineteenth-century romanticism. By giving equal weight to Louis Sullivan's writings and designs, Weingarden shows how he translated both Ruskin's tenets of Gothic naturalism and Whitman's poetry of the American landscape into elemental structural forms and organic ornamentation. Viewed as a site where various romantic discourses converged, Sullivan's oeuvre demands a cross-disciplinary exploration of each discursive practice, and its "rules of accumulation, exclusion, reactivation." The overarching theme of this study is the interrogation and restitution of those Foucauldian rules that enabled Sullivan to articulate architecture as a pictorial mode of landscape art, which he considered co-equal with the spiritual and didactic functions of landscape poetry.

Gustave Klimt (1862-1918) was one of the most brilliant artists of the Austrian avant-garde. Admired for his sensual images of women and for his powerful and original vision, he produced some of the most haunting and evocative images of all time, including The Kiss, Love and The Three Ages of Woman, all of which are included in this perfect introduction to the artist's work. Klimt started out as a decorator, opening a studio with his brother Ernst. Some of his most famous commissions were for murals, including the magnificent Beethoven Frieze, painted for the exhibition of Max Klinger's statue of Beethoven, and the monumental ceiling paintings for the auditorium of Vienna University, which shocked a conservative public. A founder of Vienna Secession, the band of artists who resigned from the established art bodies to form their own group, Klimt became the principal painter of the Art Nouveau movement, painting glittering portraits of fashionable Viennese society as well as

Situated in a Mediterranean landscape, the Maeght Foundation is a unique Modernist museum, product of an extraordinary collaboration between the architect, Jose Luis Sert, and the artists whose work was to be displayed there. The architecture, garden design and art offer a rare opportunity to see work in settings conceived in active collaboration with the artists themselves. By focusing on the relationship between this art foundation and its Arcadian setting, including Joan Miro's labyrinth, George Braque's pool, Tal-Coat's mosaic wall and Giacometti's terrace, Jan K. Birksted demonstrates how the building articulates many of the ideas that preoccupied this group of artists during the culminating years of their lives. The study pays special attention to the ways in which architecture can shape the experience of time, and addresses the Modernist desire for wilderness and its problematic roots in the classical Mediterranean ideal. In showing how the design of the Maeght Foundation is a Modernist representation of Mediterranean culture, the author has developed an interpretation of architecture that accommodates not only the architect's handling of material or function, but shows as well how it can be the embodiment of a particular vision of space and time.