Three Centuries of American Art in 1938 was the Museum of Modern Art's first international exhibition. With over 750 artworks on view in Paris ranging from seventeenth-century colonial portraits to Mickey Mouse and spanning architecture, film, folk art, painting, prints, and sculpture, it was the most comprehensive display of American art to date in Europe and an important contributor to the internationalization of American art. MoMA Goes to Paris in 1938 explores how, at a time when the concept of artworks as "masterpieces" was very much up for debate, the exhibition expressed a vision of American art and culture that was not only an art historical endeavor but also a formulation of national identity. Caroline M. Riley demonstrates in what ways, at the brink of international war in the politically turbulent 1930s, MoMA collaborated with the US Department of State for the first time to deploy works of art as diplomatic agents.

William Nicholson (1872-1949) is among the most admired and elusive painters in the history of British art. Neither academic nor overtly modernist, his ravishing paintings are a singular achievement of the early twentieth century. Nicholson made his name as a graphic artist in the 1890s before turning to painting full-time. Over the next four decades he explored the genres of portraiture, landscape and still life with exceptional inventiveness, wit and technical skill. Yet his aversion to art groups and his reluctance to make public pronouncements about art have made it difficult to place his work within the main narratives of twentieth-century art history. The breadth of Nicholson's painting is revealed in this sumptuous book, the first fully illustrated catalogue raisonne of the oils. Many of Nicholson's pictures have not been recorded before and most are reproduced here for the first time. This is the catalogue, which represents more than twenty years of scholarship Nicholson's oil paintings and the most comprehensive chronology of his life to date. The art historian Wendy Baron gives a context for Nicholson in British art at the beginning of the twentieth century, and the painter and critic Merlin James celebrates the virtuosity of Nicholson's painting technique and the cerebral subtlety of this most individual of painters

This magnificent companion to ÊThe Art of HorrorÊ from the same creative team behind that award-winning illustrated volume looks at the entire history of the horror film from the silent era right up to the latest releases and trends.ÞThrough a series of informative chapters and fascinating sidebars chronologically charting the evolution of horror movies for more than a century profusely illustrated throughout with over 600 rare and unique images including posters lobby cards advertising promotional items tie-in books and magazines and original artwork inspired by classic movies this handsomely designed hardcover traces the development of the horror film from its inception and celebrates the actors filmmakers and artists who were responsible for scaring the pants off successive generations of moviegoers!ÞEdited by multiple award-winning writer and editor Stephen Jones and boasting a foreword by director and screenwriter John Landis (ÊAn American Werewolf in LondonÊ) this volume brings together fascinating and incisive commentary from some of the genre's most highly respected experts. With eye-popping images from all over the world ÊThe Art of Horror MoviesÊ is the definitive guide for anyone who loves horror films and movie fans of all ages.

Mysterious and mathematical at once, the magical visual world of Dutch artist M.C. Escher (1898-1972) has captivated scientists and scholars and made its mark on popular culture, inspiring book covers, album art, films, posters, and puzzles. This set puts Escher's tessellated wonders right at your fingertips with 17 easy-to-assemble paper sculptures. Folding along the score lines, you can transform the artist's richly geometric designs into three-dimensional polyhedra with forming and reforming patterns, including genius arrangements of flowers, butterflies, lizards, and seashells. The book includes a review of the geometric principles and artistic invention underlying Escher's optical marvels as well as concise instructions.

Arabicity reflects on four decades of the aesthetic, conceptual, and socio-political concerns of contemporary Arab artists. Beautifully produced, it features over 200 artworks by more than 35 Arab artists including Bahia Shehab, Ayman Baalbaki, Hassan Hajjaj, and Raeda Saadeh, who explore their cultural heritage, and themes such as memory, destruction, and conflict, with great warmth, humour and visual poetry. Whether through video art, painting, photography or installation, these artists challenge the confines of their identity, resist stereotyping, and reshape the parameters of their cultural traditions. In their diverse media and subject matter, their works reflect the pulse of the region. In chaos they discover what endures.

Art has always declared its dissatisfaction against the status quo. Throughout history artists have used their art to criticise and protest against a range of injustices and inequalities. Their art is an act of defiance, but more importantly it has given a voice to the marginalised. This short but powerful book showcases the work of a range of artists from the last eighty years who have challenged traditional boundaries, spoken up for the powerless and against those who seek to deny people their human rights. Exploring deeply political and critical art which uses irony, satire, subversion and provocation, it features responses to war, violence, oppression, gender and racial inequalities, the AIDS epidemic, LGBTQ+ rights, the Black Lives Matter movement and the climate crisis, in a variety of media. A Brief History of Protest Art reveals the important role of art in confronting political and social issues, and how it can help to change attitudes to create a better future.

Monumental cares rethinks monument debates, site specificity and art activism in light of problems that strike us as monumental or overwhelming, such as war, migration and the climate crisis. The book shows how artists address these issues, from Chicago and Berlin to Oslo, Bucharest and Hong Kong, in media ranging from marble and glass to postcards, graffiti and re-enactment. A multidirectional theory of site does justice to specific places but also to how far-away audiences see them. What emerges is a new ethics of care in public art, combined with a passionate engagement with reality harking back to the realist aesthetics of the nineteenth century. Familiar questions can be answered anew: what to do with monuments, particularly when they are the products of terror and require removal, modification or recontextualisation? And can art address the monumental concerns of our present? -- .

Germany developed a large colonial empire over the last thirty years of the 19th century, spanning regions of the west coast of Africa to its east coast and beyond. Largely forgotten for many years, recent intense debates about Africa's cultural heritage in European museums have brought this period of African and German history back into the spotlight. German Colonialism in Africa and its Legacies brings much-needed context to these debates, exploring perspectives on the architecture, art, urbanism, and visual culture of German colonialism in Africa, and its legacies in postcolonial and present-day Namibia, Cameroon, and Germany. The first in-depth exploration of the designed and visual aspects of German colonialism, the book presents a series of essays combining formal analyses of painting, photography, performance art, buildings, and space with the discourse analysis approach associated with postcolonial theory. Covering the entire period from the build-up to colonialism in the early-19th century to the present, subjects covered range from late-19th-century German colonial paintings of African landscapes and people to German land appropriation through planning and architectural mechanisms, and from indigenous African responses to colonial architecture, to explorations of the legacies of German colonialism by contemporary artists today. This powerful and revealing collection of essays will encourage new research on this under-explored topic, and demonstrate the importance of historical research to the present, especially with regards to ongoing debates about the presence of material legacies of colonialism in Western culture, museum collections, and immigration policies.

The revised and extended BMW Art Guide by Independent Collectors presents more than 270 private collections of contemporary art accessible to the public-featuring large and small, famous and the relatively unknown. Succinct portraits of the collections with countless colour illustrations take the reader to more than 40 countries, often to regions or urban districts that are off-the-beaten-path. This practical guide is a collaborative publication stemming from the partnership between BMW and Independent Collectors, the international online platform for collectors of contemporary art. To date, neither the Internet nor any book has ever contained a comparable assembly of international private collections, including several that have opened their doors to art lovers and connoisseurs for the first time.

One of the state's oldest arts organizations, "Women Painters of Washington" was founded in 1930 with the aim of overcoming limitations faced by women artists. Over its 75-year history, the group has counted among its members talented artists of national prominence whose stories have not been widely shared, until now.

From founding members' early efforts to support fellow women artists, to contemporary members' cultural exchanges and international exhibitions, David F. Martin tells the story of Women Painters of Washington. He examines members' artistic achievements and the recognition they received in the national and international art worlds. In addition, a selection of works by current WPW members demonstrates the organization's continued vitality. Abundant color plates clearly illustrate the talent and innovation of these artists.

David F. Martin is a leading expert on early Northwest art and co-author of "Shadows of a Fleeting World: Pictorial Photography and the Seattle Camera Club."

"A visually stunning book that will utterly revise our conventional notions of Northwest art." -HistoryLink.org

"A fitting tribute to an important local arts organization. Highly recommended." "-Choice"

A vivid and engaging exploration of California's debt to the ancient world. Discussing the influence of the classics on America is nothing new; indeed, classical antiquity could be considered second only to Christianity as a force in modeling America's national identity. What has never been explored until now is how, from the beginning, Californians in particular chose to visually and culturally craft their new world using the rhetoric of classical antiquity. Through a lively exploration of material culture, literature, and architecture, American Arcadia offers a tour through California's development as a Mediterranean haven from the late nineteenth century to the present. In its earliest days, California was touted as the last opportunity for alienated Yankees to establish the refined gentleman-farmer culture envisioned by Jefferson and build new cities free of the filth and corruption of those they left back East. Through architecture and landscape design Californians fashioned an Arcadian setting evocative of ancient Greece and Rome.Later, as Arcadia gave way to urban sprawl, entire city plans were drafted to conjure classical antiquity, self-styled villas dotted the hills, and utopian communities began to shape the state's social atmosphere. Art historian Peter J. Holliday traces the classical influence primarily through the evidence of material culture, yet the book emphasizes the stories and people, famous and forgotten, behind the works, such as Florence Yoch, the renowned landscape designer and set designer for Gone with the Wind, and "Sister Aimee" Semple McPherson, the most publicized Christian evangelist of her day, whose sermons filled the Pantheon-like Angelus Temple. Telling stories from the creation of the famed aqueducts that turned the semi-arid landscape to a cornucopia of almonds, alfalfa, and oranges to the birth of the body-sculpting movement, American Arcadia offers readers a new way of seeing our past and ourselves.

An original study of Gauguin's writings, unfolding their central role in his artistic practice and negotiation of colonial identity As a French artist who lived in Polynesia, Paul Gauguin (1848-1903) occupies a crucial position in histories of European primitivism. This is the first book devoted to his wide-ranging literary output, which included journalism, travel writing, art criticism, and essays on aesthetics, religion, and politics. It analyzes his original manuscripts, some of which are richly illustrated, reinstating them as an integral component of his art. The seemingly haphazard, collage-like structure of Gauguin's manuscripts enabled him to evoke the "primitive" culture that he celebrated, while rejecting the style of establishment critics. Gauguin's writing was also a strategy for articulating a position on the margins of both the colonial and the indigenous communities in Polynesia; he sought to protect Polynesian society from "civilization" but remained implicated in the imperialist culture that he denounced. This critical analysis of his writings significantly enriches our understanding of the complexities of artistic encounters in the French colonial context.

A comprehensive biography of Hal Foster, in which author Brian M. Kane examines the 70-year career of one of the greatest illustrators of the 20th century. "Superman" was modelled after Foster's drawings of Tarzan, Flash Gordon's Alex Raymond borrowed compositions from "Prince Valiant", and many artists, including the famous contemporary Western painter James Bama, count Foster among their greatest influences. Born in Halifax, Nova Scotia in 1892 of a seafaring family, Hal naturally took to the sea. At the age of eight he paddled a 12-foot plank across Halifax Harbor to the consternation of large Cunard liners. In his youth he was a catalogue artist, a trapper, a professional boxer, a gold prospector, and a hunter-guide in the uncharted forests of Canada. In 1921 with a wife and two children to support he peddled his one-speed bicycle 1000 miles across dirt and gravel roads from Winnipeg to Chicago to attend the Art Institute and later find permanent employment. The young illustrator's work appeared on the covers of "Popular Mechanics" and in hundreds of magazines for clients such as "Northwest Paper", "Jekle Margarine", "Southern Pacific Railroad" and "Illinois Pacific Railroad". In 1929 Foster illustrated the first newspaper adaptation of "Tarzan of the Apes" by Edgar Rice Burroughs. The comic strip was the first of its kind and it was Foster's sense of realism, composition, draftsmanship, and understanding of fluid anatomy that would forever mark him as "The Father of the Adventure Strip". The famous newspaper tycoon, William Randolph Hearst, wanted Foster and made the artist an unheard of offer. If Foster would leave Tarzan and come to work for Hearst's King Features Syndicate he could do anything he wanted and have complete ownership of the new series. The first episode of "Prince Valiant in the Days of King Arthur" appeared on 13 February 1937. Foster's work has inspired generations of artists including Jack Kirby, Lou Fine, Frank Frazetta, Al Williamson, Wayne Boring, Joe Kubert, Russ Manning, Wally Wood, Dave Stevens, Carmine Infantino, Charles Vess, William Stout, John Buscema, Mark Schultz and the great Disney artist, Carl Barks. This volume features quotes and sidebars from many of these artists.

Focusing on the thirty-three paintings that Philip Guston exhibited at the Marlborough Gallery in 1970, this in-depth account reconsiders the history of postwar American art and the conception of figuration in modern art history. Through a myriad of cultural touchstones, including evidence from literary and musical vogues of the period, Robert Slifkin examines the role of history as both artistic medium and creative catalyst to Guston's practice as a painter. Slifkin employs a wealth of visual examples, archival materials, and original scholarship to situate Guston's paintings within broader artistic debates of the time, using the cultural movement of "the sixties" as its orienting foreground. This historical framework provides an interface between the notions of time in art and time in the material world. Lively and edifying, Slifkin's comprehensive text productively complicates the prescribed traditions of postwar art history and, in turn, shifts our perception of Guston and his place in the domain of modern art.

This book demonstrates that numerous prominent artists in every period of the modern era were expressing spiritual interests when they created celebrated works of art. This magisterial overview insightfully reveals the centrality of an often denied and misunderstood element in the cultural history of modern art.

A landmark examination of iconic and provocative portraits by Warhol and Mapplethorpe, presented side by side and in depth for the first time Andy Warhol (1928-1987) and Robert Mapplethorpe (1946-1989) are well known for significant work in portraiture and self-portraiture that challenged gender roles and notions of femininity, masculinity, and androgyny. This exciting and original book is the first to consider the two artists together, examining the powerful portraits they created during the vibrant and tumultuous era bookended by the Stonewall riots and the AIDS crisis. Several important bodies of work are featured, including Warhol's Ladies and Gentlemen series of drag queen portraits and his collaboration with Christopher Makos on Altered Image, in which Warhol was photographed in makeup and wigs, and Mapplethorpe's photographs of Patti Smith and of female body builder Lisa Lyon. These are explored alongside numerous other paintings, photographs, and films that demonstrate the artists' engagement with gender, identity, beauty, performance, and sexuality, including their own self-portraits and portraits of one another. Essays trace the convergences and divergences of Warhol and Mapplethorpe's work, and examine the historical context of the artists' projects as well as their lasting impact on contemporary art and queer culture. Firsthand accounts by the artists' collaborators and subjects reveal details into the making and exhibition of some of the works presented here. With an illustrated timeline highlighting key moments in the artists' careers, and more than 90 color plates of their arresting pictures, this book provides a fascinating study of two of the most compelling figures in 20th-century art. Published in association with the Wadsworth Atheneum Museum of Art Exhibition Schedule: Wadsworth Atheneum Museum of Art (10/17/15-1/24/16)

The short intermezzo between the Great War and World War II and especially the “roaring twenties” with their a thrill of speed were a period of radical social change and artistic development, and of vibrant metropolitan life and. Born into a merchant family in the Swiss mountain canton of Glarus, Lill Tschudi (1911–2004) moved to London in 1929 to educate herself at the Grosvenor School of Modern Art. She flourished in the imperial capital and soon gained wide recognition for her bold and often colourful modernist linocuts. In the Anglo-Saxon world her reputation as an accomplished printmaker has lasted and her works continue to fetch good prices at auctions in Britain and Australia. New York’s Metropolitan Museum of Art holds some 120 of her prints in its permanent collection, while she has until to date never been distinguished with a solo exhibition in a public museum in her native Switzerland. This book, published to coincide with the first such display at Graphische Sammlung ETH Zurich, features some 50 of her unique linocuts. Designed as a proper picture book, it shows her refined and expressive compositions with their captivating narrative in full-page plates, which are supplemented by informative essays. Text in English and German.

The art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture.

America’s most famous architect, Frank Lloyd Wright, was born in 1867 in the rolling hills of Richland Center, Wisconsin, to a family of Unitarians and Quakers. Even with world-class commissions like New York City’s Guggenheim Museum, his organic architecture remains rooted in Wisconsin’s landscape, from affordable-housing prototypes in Milwaukee to his summer home and architecture school in rural Spring Green. This comprehensive guide to Wright’s designs (and those of his protégés) that are open to the public—as well as insider historical information about sites now demolished, and those available for “drive-bys” only—is for the architecture or history fan looking for tours, overnight stays or creative inspiration. Museum collections in Wisconsin that include Wright’s furnishings and drawings are also included.

From abolitionist medallions to statues of bondspeople bearing broken chains, sculpture gave visual and material form to narratives about the end of slavery in the eighteenth and nineteenth centuries. Sculpture at the Ends of Slavery sheds light on the complex-and at times contradictory-place of such works as they moved through a world contoured both by the devastating economy of enslavement and by international abolitionist campaigns. By examining matters of making, circulation, display, and reception, Caitlin Meehye Beach argues that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery. With focus on works by Josiah Wedgwood, Hiram Powers, Edmonia Lewis, John Bell, and Francesco Pezzicar, Beach uncovers both the radical possibilities and the conflicting limitations of art in the pursuit of justice in racial capitalism's wake.

R. B. Kitaj (1932-) is recognized as a modern master whose powerful, controversial and highly personal paintings, pastels and drawings reflect his unfashionable commitment to the human figure as a subject, and his complex involvement with the art of the past, with political and social issues, and with his own Jewish identity. Marco Livingstone's definitive and much praised monograph on Kitaj is based on an extraordinary series of interviews and letters between the artist and the author, and provides full and up-to-date documentation of Kitaj's life and work. The artist himself participated actively in the design of the book, and a series of articulate and revealing 'prefaces' to his own paintings are also included here. For this expanded third edition, the author has written a new chapter surveying Kitaj's work in the 1990s, a tragic period dominated by his now famous confrontation with the critics of his 1994 retrospective exhibition, the subsequent death of his wife the artist Sandra Fisher, and his eventual return to the United States. This text is complemented by a new plate section illustrating 22 recent works, and three additional 'prefaces' written by the artist. The Bibliography and Catalogue of Works have been expanded and updated, and finally many illustrations that were black-and-white in earlier editions are now reproduced in full colour. With its fresh account of a productive and turbulent phase in Kitaj's career, this new edition will be indispensable for all admirers of the artist.

Originally published in 1940, this book charts the origins and evolution of academies of art from the sixteenth century to the first half of the twentieth century. Pevsner expertly explains the political, religious and mercantile forces affecting the education of artists in various countries in Western Europe, and the growing 'academisation' of artistic training that he saw is his own day. This book will be of value to anyone with an interest in the various historical schools of art instruction and the history of art more generally.

Consider for a moment the history of modern art in Britain; you may struggle to land on a narrative that features very many women. On this journey through a fascinating period of social change, artist Carolyn Trant fills in some of the gaps in traditional art histories. Introducing the lives and works of a rich network of neglected women artists, Voyaging Out sets these alongside such renowned presences as Barbara Hepworth, Laura Knight and Winifred Nicholson. In an era of radical activism and great social and political change, women forged new relationships with art and its institutions. Such change was not without its challenges, and with acerbic wit Trant delves into the gendered make-up of the `avant-garde', and the tyranny of artistic `isms'. Virginia Woolf's first novel The Voyage Out (1915) has her female heroine strive towards a realization of her sense of self, asking what being a woman might mean. In the decades after women won the vote in Britain, the fortunes of women artists were shaped by war, domesticity, continued oppressions and spirited resistance. Some succeeded in forging creative careers; others were thwarted by the odds stacked against them. Weaving devastating individual stories with playful critique, Voyaging Out reveals this hidden history.