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The first biography of America's greatest twentieth-century sculptor. In this beautifully written, deeply researched book Jed Perl shows how Alexander Calder became an avant-garde artist with enduring appeal. One of our most beloved modern artists, Calder is celebrated above all as the inventor of the mobile. Only now is the full story of his life being told in a gloriously illustrated biography, which features unseen photographs and is based on scores of interviews and unprecedented access to Calder's papers. Born into a family of artists, Calder forged important friendships with a who's who of twentieth-century masters, including Joan Miro, Marcel Duchamp, Georges Braque, and Piet Mondrian. His early years studying engineering were followed by artistic triumphs in Paris in the late 1920s, and his emergence as a leader in the international abstract avant-garde. His marriage in 1931 to Louisa James-- a great-niece of Henry James--is a richly romantic story. This transatlantic life carries readers from New York's Greenwich Village, to the Left Bank of Paris during the Depression, and then to a refugee-filled London just before the War, where Calder's circle of friends included Barbara Hepworth, Ben Nicholson and Kenneth Clark.
`What can painting do?' This question bound together a diverse community of artists in London after the Second World War. In answering it, many became household names: Francis Bacon, Lucian Freud, Frank Auerbach, David Hockney, Bridget Riley, Gillian Ayres, Frank Bowling, Howard Hodgkin and more. Drawing on decades of interviews, Gayford unpicks the creative threads and maverick personalities of interwoven lives from postwar Soho bohemia to the Swinging Sixties. It is a story of friendships, experiences and artistic concerns shared between talented individuals who each developed their own singular approach to painting. All passionately believed that even in the age of new media, an ancient form could do fresh and marvellous things.
Hierdie publikasie gee ’n volledige beeld van die kunstenaar Frans David Oerder (1867–1944) se oeuvre – sy Anglo-Boereoorlogtekeninge, landskappe, genrestukke, portrette, blomstudies en stillewes, interieurs, dierestudies en grafiese werk. Geen moeite is ontsien om hierdie boek so volledig en betroubaar moontlik te maak nie. Argivale bronne in die Kunsargief van die Universiteit van Pretoria, die Argief van die Johannesburg Kunsmuseum en die Nasionale Argief van Suid-Afrika in Pretoria het grootliks bygedra tot die toevoeging van inligting oor hierdie kunstenaar wat nie voorheen bekend was nie. Dieplakboek van Gerda Oerder en ’n lang lesing met detailinligting oor Oerder se vroee lewe deur mev. Lorimer in die Kunsargief van die Universiteit van Pretoria het bygedra tot ’n nuwe vertolking van die lewe en werk van hierdie belangrike Suid-Afrikaanse kunstenaar. Tydens die Anglo-Boereoorlog was Oerder die enigste amptelike kunstenaar aan Boerekant, maar tot dusver is nog geen volledige geskiedenis van sy deelname aan die oorlog geskryf nie. In hierdie boek word Oerder se Anglo-Boereoorlogtekeninge nou vir die eerste keer so volledig moontlik afgedruk en beskryf.
The story of one of the world's greatest cover artists told through his iconic 1960s and 1970s Agatha Christie paperback designs, which influenced a generation of readers and artists. Includes a variety of other art and illustration from his 50 year career. The Agatha Christie covers painted by Tom Adams constitutes probably the most famous body of paperback art ever produced by a single artist. Between A Murder Is Announced in 1962 and Miss Marple's Final Cases in 1979, Tom was commissioned by Fontana in the UK and Pocket Books in the USA to paint covers for almost every Agatha Christie book, most of them more than once, totalling around 150 different paintings over two decades. They have been reproduced in many languages all over the world, defining the style of paperback artwork throughout the sixties and seventies and influencing a generation of artists and designers ever since. Tom's unique interpretations of the themes and stories in the books, often hiding clues about the plots within his paintings, have left an indelible mark on those who read those editions, and they are now highly sought after by fans of both Agatha Christie and Tom Adams. And Agatha Christie is only half the story. Concurrent with this extraordinary achievement, Tom was also producing art for other publishers, including an iconic series of Raymond Chandler covers and some brilliant jackets for books by John Fowles (The Collector, The Magus and The French Lieutenant's Woman), Patrick White (The Vivisector), David Storey (Saville), Peter Straub (Ghost Story), and Kingsley Amis (his James Bond pastiche, Colonel Sun). Tom Adams Uncovered is a showcase of the artist's best work from a career spanning more than 50 years. In addition to his many cover paintings, it features examples of Tom's broader work, including award-winning advertising, portraits, album covers, poster prints, and his work on the films 2001, Flash Gordon and Lifeforce. With captions by Tom and a commentary by the Agatha Christie historian John Curran, and concluding with previously unpublished Agatha Christie paintings, this book is a treasure trove for both crime fans and art lovers, and a fitting celebration of one of the world's finest cover artists.
The Art of Love tells the stories of the most fascinating couples of the art world, exploring the passionate, challenging and loving relationships behind some of the world's greatest works of art. From Frida Kahlo and Diego Rivera to Joseph Cornell and Yayoi Kusama, Josef and Anni Albers to Gilbert & George, Kate Bryan delves into the formation, and sometimes breakdown, of each romance, documenting their highs and lows and revealing just how powerful love can be in the creative process. Whether long-lasting, peaceful collaborations, or short-lived tumultuous affairs, The Art of Love opens the door on some of the greatest love stories of the twentieth century.
April 1943. To mark a move by the Hungarian Club to new premises at 33 Pembridge Square, London W2, the emigre critic and publisher Charles Rosner organised a graphics show including work by 14 Hungarian-born artists living in Britain, all but one of whom were to be granted British citizenship. The 14 were: Joseph Bato, painter and art director; Klara Biller, illustrator; Val Biro, illustrator and author; George Buday, illustrator and organiser; Imre Goth, painter and inventor; Imre Hofbauer, illustrator and author; Peter Lambda, sculptor; Lili Markus, ceramist; George Mayer-Marton, painter and teacher; Henry Ripszam, painter and sculptor; Jean-Georges Simon, painter and teacher; Istvan Szegedi-Szuts, painter and author; Paul Vincze, medallist; Akos Zsoter, painter. All found haven of a sort in Britain, although George Buday, denied citizenship by MI5's false allegation of Communist sympathies, suffered a nervous breakdown when Moscow crushed the October 1956 uprising. To mark 75 years from the original show, and the centenary of Armistice Day, Robert Waterhouse followed the tracks of all 14 artists from Glasgow to Penzance via London, Vienna and Budapest, turning up archives, working through family collections and searching the vaults of public galleries. He came across long-lost images, unpublished diaries, memoirs and out-of-print titles which flesh out caricatures of exile, showing how each artist came to terms with British life, making a living and an individual mark. Seven of the 14 had fought as Austro-Hungarian conscripts in the First World War. Driven from their homeland by the punitive terms of the 1920 Treaty of Trianon, then pushed from Berlin, Prague and Vienna by the rise of the Third Reich, their arrival in London, where they were treated as enemy aliens, was anything but auspicious. Yet they survived. The anthology rediscovers a forgotten generation-and-a-half whose contribution to our national culture as Hungaro-Brits has clear messages for today's Hungary, questioning democratic institutions, and today's Britain, intent on cutting bonds with the Continent.
'Inside Photography', a collaboration between the writer/editor, David Brittain and graphic artist, Clinton Cahill, is a book of interviews that sheds light on the art photography magazine. Inciteful and often irreverent, the book demonstrates how this critically overlooked type of publication can be an invaluable resource for creative and historical investigations.
This is the fascinating autobiography of a society heiress who became the bohemian doyenne of the art world. Written in her own words it is the frank and outspoken story of her life and loves: her stormy relationships with such men as Max Ernst and Jackson Pollock, and her discovery of new artists. Known as "the mistress of modern art", Peggy Guggenheim was a passionate collector and major patron. She amassed one of the most important collections of early twentieth century European and American art embracing cubism, surrealism and expressionism. A must read for anyone with an interest in these major-league artists, this seminal period of art history, and the ultimate self-invented woman.
This volume presents over 200 'secret masterpieces' of classic modernism held in the R&H Batliner Art Foundation's archives. Embracing paintings, drawings, sculpture and ceramics, it features reproductions of rarely seen works by Monet, Matisse, Bacon, Lichtenstein, Kokoschka, Picasso, Klee, Chagall and Giacometti, among others.
Published in its entirety, Frida Kahlo's amazing illustrated journal documents the last ten years of her turbulent life. These passionate, often surprising, intimate records, kept under lock and key for some 40 years in Mexico, reveal many new dimensions in the complex personal life of this remarkable Mexican artist. The 170-page journal contains the artist's thoughts, poems, and dreams-many reflecting her stormy relationship with her husband, artist Diego Rivera-along with 70 mesmerizing watercolor illustrations. The text entries, written in Frida's round, full script in brightly colored inks, make the journal as captivating to look at as it is to read. Her writing reveals the artist's political sensibilities, recollections of her childhood, and her enormous courage in the face of more than 35 operations to correct injuries she had sustained in an accident at the age of 18. This intimate portal into her life is sure to fascinate fans of the artist, art historians, and women's culturalists alike.
A thought-provoking examination of beauty using three works of art by Manet, Gauguin, and Cézanne. As the discipline of art history has moved away from connoisseurship, the notion of beauty has become increasingly problematic. Both culturally and personally subjective, the term is difficult to define and nearly universally avoided. In this insightful book, Richard R. Brettell, one of the leading authorities on Impressionism and French art of the nineteenth and early twentieth centuries, dares to confront the concept of modern beauty head-on. This is not a study of aesthetic philosophy, but rather a richly contextualized look at the ambitions of specific artists and artworks at a particular time and place.
Brettell shapes his manifesto around three masterworks from the collection of the J. Paul Getty Museum: Édouard Manet’s Jeanne (Spring), Paul Gauguin’s Arii Matamoe (The Royal End), and Paul Cézanne’s Young Italian Woman at a Table. The provocative discussion reveals how each of these exceptional paintings, though depicting very different subjects—a fashionable actress, a preserved head, and a weary working woman—enacts a revolutionary, yet enduring, icon of beauty.
When Picasso became Picasso: the story of how an obscure young painter from Barcelona came to Paris and made himself into the most influential artist of the twentieth century. In 1900, an eighteen-year-old Spaniard named Pablo Picasso made his first trip to Paris. It was in this glittering capital of the international art world that, after suffering years of poverty and neglect, he emerged as the leader of a bohemian band of painters, sculptors, and poets. Fueled by opium and alcohol, inspired by raucous late-night conversations at the Lapin Agile cabaret, Picasso and his friends resolved to shake up the world. For most of these years Picasso lived and worked in a squalid tenement known as the Bateau Lavoir, in the heart of picturesque Montmartre. Here he met his first true love, Fernande Olivier, a muse whom he would transform in his art from Symbolist goddess to Cubist monster. These were years of struggle, often of desperation, but Picasso later looked back on them as the happiest of his long life. Recognition came slowly: first in the avant-garde circles in which he traveled, and later among a small group of daring collectors, including the Americans Leo and Gertrude Stein. In 1906, Picasso began the vast, disturbing masterpiece known as Les Demoiselles d'Avignon. Inspired by the groundbreaking painting of Paul Cezanne and the startling inventiveness of African and tribal sculpture, Picasso created a work that captured and defined the disorienting experience of modernity itself. The painting proved so shocking that even his friends assumed he'd gone mad. Only his colleague George Braque understood what Picasso was trying to do. Over the next few years they teamed up to create Cubism, the most revolutionary and influential movement in twentieth-century art. This is the story of an artistic genius with a singular creative gift. It is filled with heartbreak and triumph, despair and delirium, all of it played out against the backdrop of the world's most captivating city.
The first in-depth investigation of Gauguin's portraits, revealing how the artist expanded the possibilities of the genre in new and exciting ways Paul Gauguin (1848-1903) broke with accepted conventions and challenged audiences to expand their understanding of visual expression. Nowhere is this phenomenon more evident than in his portraits, a genre he remained engaged with throughout all phases of his career. Bringing together more than 60 of Gauguin's portraits in a wide variety of media that includes painting, works on paper, and sculpture, this handsomely illustrated volume is the first focused investigation of the multifaceted ways the artist approached the subject. Essays by a group of international experts consider how the artist's conception of portraiture evolved as he moved between Brittany and Polynesia. They also examine how Gauguin infused his work with symbolic meaning by taking on different roles like the Christ figure and the savage in his self-portraits and by placing his models in suggestive settings with alluring attributes. This welcome addition to the scholarship on one of the 19th century's most innovative and controversial artists reveals fascinating insights into the crucial role that portraiture played in Gauguin's overall artistic practice.
The great age of ocean travel has long since passed, but ocean liners remain one of the most powerful and admired symbols of modernity. No form of transport was as romantic, remarkable, or contested, and ocean liner design became a matter of national prestige as well as an arena in which the larger dynamic s of global competition were played out. This beautifully illustrated book considers over a century of liner design: from the striking graphics created to promote liners to the triumphs of engineering, and from luxurious interiors to on board fashion and activities. Ocean Liners explores the design of Victorian and Art Deco 'floating palaces', sleek post-war liners as well as these ships' impact on avant-garde artists and architects such as Le Corbusier.
At the Slade Lee formed close friendships with Robert Gibbings and Paul Nash and made a significant contribution to the wood engraving revival in England between the wars. The remarkably powerful series of paintings and drawings he produced whilst serving in the Trenches in the Machine Gun Corps showed him to be in sympathy with elements of Cubism and Vorticism. These works compare favourably with the well-known war pictures by his Slade contemporaries Nash and Nevinson, but have not been seen for over ninety years. He made many more drawings whilst he was recuperating from shell shock. Between 1919 and 1922, Lee collaborated closely with Paul and John Nash producing wood engravings for the "Sun Calendar Yearbook" and "The Poetry Bookshop". He began specialising in animal subjects and his paintings, wood engravings and sculptures were bought by such notable figures as Arnold Bennett, Roger Fry and Edward Marsh. He organised the important open-air sculpture exhibition on the roof gardens of Selfridges in 1930. During his ten-year presidency of the London Group he was centrally involved with the development of modern art in Britain, helping raise the profile of young emerging artists like Henry Moore and Victor Pasmore. A formative member of the Surrealist movement in England, he was Chairman of the 1936 International Surrealist exhibition at the New Burlington Galleries and worked tirelessly to promote the work of modern painters and sculptors. Drawing from a unique archive of the artist's papers and correspondence, this first study of Rupert Lee's life and work reveals an artist of outstanding versatility and a key player in the story of early twentieth century British art.
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