From his childhood in Poland just before WWII, his study of art in Paris, his two marriages and the birth of his daughters, to his emigration to Canada, Kupczynski has recorded his colourful views of life on canvas and paper. In this book, he documents the important milestones in both his private and public life, including that he was the first artist to hang his paintings at the Barbakan, a reconstructed wall in Warsaw that joined the Old City with the New that became a famous exhibition space and drew many more artists. Like his paintings, his book shows that he loves women, animals, music and colour.

"Revolutionary Beauty" offers the first sustained study of the German artist John Heartfield's groundbreaking political photomontages, published in the left-wing weekly "Arbeiter Illustrierte Zeitung""(AIZ)" during the 1930s. Sabine T. Kriebel foregrounds the critical artistic practices with which Heartfield directly confronted the turbulent, ideologically charged currents of interwar Europe, exposing the cultural politics of the crucial historical moment that witnessed the consolidation of National Socialism. In this period of radicalization and mass mobilization, the medium of photomontage--the cut-and-paste assemblage of photograph and text--offered a way to deconstruct the visual world and galvanize beholders on a mass scale.
Kriebel transforms our understandings of montage as a quintessentially modern practice. Central to that reconceptualization is suture, a concept integral to film theory but recruited in this book to explore the psychic operations of Heartfield's seamlessly welded "AIZ" photomontages. "Revolutionary Beauty" proposes that the language of sutured illusionism constitutes one of the most important and overlooked critiques of modern media, wherein a radical reassessment "resides in "suture. Scholars of photography, modern and contemporary art history, media studies, and European history will doubtlessly embrace this book.

Luis Eligio Tapia is one of the leading contemporary Hispanic artists in the United States. Tapia's keen interpretations of modern culture and daily life in his native northern New Mexico are unexpected, ironic, colourful windows on his culture.

The next best thing to having a room key to the Chelsea Hotel during each of its famous--and infamous--decades
The Chelsea Hotel, since its founding by a visionary French architect in 1884, has been an icon of American invention: a cultural dynamo and haven for the counterculture, all in one astonishing building. Sherill Tippins, author of the acclaimed "February House," delivers a masterful and endlessly entertaining history of the Chelsea and of the successive generations of artists who have cohabited and created there, among them John Sloan, Edgar Lee Masters, Thomas Wolfe, Dylan Thomas, Arthur Miller, Allen Ginsberg, Bob Dylan, Janis Joplin, Leonard Cohen, Patti Smith, Robert Mapplethorpe, Andy Warhol, Sam Shepard, Sid Vicious, and Dee Dee Ramone. Now as legendary as the artists it has housed and the countless creative collaborations it has sparked, the Chelsea has always stood as a mystery as well: Why and how did this hotel become the largest and longest-lived artists' community in the known world? "Inside the Dream Palace" is the intimate and definitive story.
Today the Chelsea stands poised in limbo between two futures: Will this symbol of New York's artistic invention be converted to a profit-driven business catering to the top one percent? Or will the Chelsea be given a rebirth through painstaking effort by the community that loves it? Set against these two competing possibilities, "Inside the Dream Palace" could not be more fascinating or timely.

In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title "Prehistoric Rock Pictures in Europe and Africa", it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius. Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images’ primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstract art. Presenting unseen archival material, letters, and exhibition documentation, Prehistoric Pictures and American Modernism offers a new reading of the development of modern American abstraction, and will hold an important place in the historiography of the movement, its global traditions, and its legacy.

Recognized as a major figure in postwar American painting, Richard Diebenkorn (1922-1993) was an artist strongly identified with California but whose work is beloved throughout the United States and the rest of the world. This catalogue is the most comprehensive volume on the artist now available. Jane Livingston's extensively researched biographical essay covers Diebenkorn's entire career and concentrates on the artist's inner life and purposes as revealed in his paintings. Ruth Fine deals primarily with the figurative aspect of Diebenkorn's work (1955-67), and John Elderfield concentrates on the Ocean Park period (1967-93). All three authors provide valuable insights based on their personal relationships with the artist and his widow, Phyllis. On both page and canvas, the reader can sense Diebenkorn's complexity and highly self-conscious working methods, as well as his formidable integrity. "The Art of Richard Diebenkorn" will give readers with an interest in all phases of modernism new thoughts about the relationship between abstraction and representation. Stunningly illustrated, with 192 full-color reproductions, this book is an exhilarating testament to a distinctive American artist.

Attention is fundamental to how we experience reality, and yet this notion has been understood and practised in very different ways across history. This interdisciplinary study explores the dynamic relationship between attention and its supposed opposite, distraction, as it unfolds from the eighteenth century to the present day. Its primary focus is on twentieth-century Germany and Austria, where matters of (in)attention gained a unique urgency during a period of social change and political crisis. Building on Enlightenment practices of self-observation, nineteenth-century Germany was the birthplace of experimental psychology, a discipline which sought to measure and potentially enhance human attention. This approach was also adopted outside the psychological laboratory-for instance in the First World War, when psychological testing was used to select soldiers for particular strategic positions. After the war these techniques filtered through into everyday life. Weimar Germany was unique in the western world in rolling out the methods of 'psychotechnics' across civilian society-in fields such as work and education, advertising and mass entertainment. This state-sponsored programme aimed to reshape people's minds and behaviour in order to build a more efficient, streamlined society. But as this study shows, this initiative also had profound repercussions in the fields of thought, literature, and culture. New readings of leading writers and intellectuals of the period-Kafka, Musil, Kracauer, Benjamin, and Adorno-are interspersed with broader cultural-historical chapters dedicated to the history of psychology and psychiatry, to Weimar self-help literature, portrait photography, and musical culture.

From Hogarth to Reynolds, from Gainsborough to Turner, the great protagonists of English painting between the eighteenth and nineteenth centuries. This is the first comprehensive overview of the extraordinary development of British painting during the eighteenth century, which anticipated themes, styles, and techniques that later became paradigms of modernity. This volume focuses on the English context at a time when the growth of artistic standing was accompanied by the country's conquest of hegemony on a historical, political, and economic plane. The volume is arranged chronologically in seven sections, which include a selection of over 100 masterpieces by the most significant English painters. The main objective is to enable readers to rediscover the genres of portrait and landscape, which have always characterized British art. Readers can admire the work of artists like William Hogarth, Henry Fuseli (Johann Heinrich Fussli), Sir Joshua Reynolds, Thomas Gainsborough, Joseph Wright of Derby, George Stubbs, John Constable, and William Turner, who offer a completely original cross section of eighteenth- and early nineteenth-century painting in Great Britain.

Restoring a "perfect painter" to the Cubist canon Juan Gris (1887-1927) was central to the development of Cubism in the early 20th century. Though the writer and art collector Gertrude Stein considered him a "perfect painter," Gris's pivotal role within the movement has often been overshadowed. Cubism in Color: The Still Lifes of Juan Gris reveals the virtuosic range of the artist's short yet prolific career, illuminating his boundary-pushing contributions to Cubism. As a thorough examination of Gris's still lifes, Cubism in Color provides an important reassessment of this underappreciated artist, reestablishing his position as a modernist master. This fully illustrated volume traces the evolution of Gris's aesthetic and approach to still life through a selection of key works. It includes original essays by leading scholars in the field, offering new insights on Gris's elusive artistic process, the history of collecting his work in the United States and his native Spain, and his artistic legacy within modern and contemporary Latin American art. Distributed for the Dallas Museum of Art and The Baltimore Museum of Art Exhibition Schedule: Dallas Museum of Art (March 14-July 25, 2021) The Baltimore Museum of Art (September 12, 2021-January 9, 2022)

This sumptuously illustrated volume, edited by eminent war historian Joanna Bourke, offers a comprehensive visual, cultural and historical account of the ways in which armed conflict has been represented in art. Covering the last two centuries, the book shows how the artistic portrayal of war has changed, from a celebration of heroic exploits to a more modern, truthful depiction of warfare and its consequences. Featuring illustrations by artists including Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora Meeson, Otto Dix and many others, as well as those who are often overlooked, such as children, women, non-European artists and prisoners of war, this extensive survey is a fitting and timely contribution to the understanding, memory and commemoration of war, and will appeal to a wide audience interested in warfare, art, history or politics. Introduction by Joanna Bourke, with essays by Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington, James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough, Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski, Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John Schofield, John D. Szostak, Sarah Wilson and Jay Winter.

An in-depth exploration into the immense popularity of William-Adolphe Bouguereau's work in America throughout the late 19th and early 20th centuries Seeking to bring Gallic sophistication and worldly elegance into their galleries and drawing rooms, wealthy Americans of the late 19th and early 20th centuries collected the work of William-Adolphe Bouguereau (1825-1905) in record numbers. This fascinating volume offers an in-depth exploration of Bouguereau's overwhelming popularity in turn-of-the-century America and the ways that his work-widely known from reviews, exhibitions, and inexpensive reproductions-resonated with the American public. While also lauded by the French artistic establishment and a dominant presence at the Parisian Salons, Bouguereau achieved his greatest success selling his idealized and polished paintings to a voracious American market. In this book, the authors discuss how the artist's sensual classical maidens, Raphaelesque Madonnas, and pristine peasant children embodied the tastes of American Gilded Age patrons, and how Bouguereau's canvases persuasively functioned as freshly painted Old Masters for collectors flush with new money. Published in association with the Milwaukee Art Museum and the Memphis Brooks Museum of Art Exhibition Schedule: Milwaukee Art Museum (02/15/19-05/12/19) Memphis Brooks Museum of Art (06/22/19-09/22/19) San Diego Museum of Art (11/09/19-03/15/20)

When a world-famous artist begins to lose her eyesight and puts down her brushes, it is a tragedy. When she starts to paint again, it must surely be a miracle. "What are those colors?" I asked, shouting over the wind. O'Keeffe raised her eyes skyward, resting both hands on the cane. She looked slowly all around, squinting against the flying sand, her white dress flapping loudly. Then she lowered her eyes toward me. "You tell me what they are," she said. At first I thought she was jesting. I knew she could see them, or I thought she could. But she waited patiently, looking at me. I turned back to the sky. "They're like pastels." I stopped, focusing on one cloud near to us. "This cloud is like a grainy orange and red--no, it's more like a peach, with yellows in there too." I gestured widely. It seemed as if one color was superimposed on traces of another. The air was full of fragrances enhanced by a hint of moisture and sharpened by the wind as it passed quickly over the surface of sage and stone, sand and pinon. Somehow, all that was part of what I saw. "But there are reds, too." I struggled to think of how to describe the colors. "There is a gray or white behind the reds; and some orange." O'Keeffe's head declined slightly as she listened, her lips creased in a faint smile. In late summer 1975, John Poling left college to wander the beauty of northern New Mexico and wound up in Abiquiu doing odd jobs for Georgia O'Keeffe. Never did he imagine that one day O'Keeffe's request for help in preparing a canvas would lead to a two-year collaboration that would prove the most rewarding yet most painful of his life.

Now in a completely new and updated edition, this introduction to the development of modern (and postmodern) design is ideal for undergraduate students. Divided into four parts, the book covers the major periods in design culture since the start of the twentieth century, beginning by examining the formative years 1900-1914. Two sections on design and modernity explore the periods 1915-1939 and 1939-1969, and a completely new section, design and postmodernity, covers 1970 to the present.

New to this edition are:

• key discussions on postmodernism and design
• the alliance between technology and design
• the relationship between identity and design.

Drawing on a wealth of mass-produced artifacts, images and environments including sewing machines, cars, televisions, clothes, electronic and branded goods and exhibitions, Sparke shows how design has helped to shape and reflect our social and cultural development.

After years of neglect, the variety, technical quality and imaginative content of Gilbert Bayes's work is receiving the appreciation it deserves. This is the first full study and catalogue raisonne of this 2Oth-century figurativist.

The career of Bayes spanned the Arts and Crafts movement, Art Nouveau, Art Deco and Modernism. While figures were his specialty, Bayes also designed presentation cups, caskets, mirrors, stained glass and more. His best known works are the large scale low relief panels designed for architectural settings, some of which include the Saville Theatre and the Victoria & Albert Museum.

Dieser Band der Profile behandelt das Verhaltnis zwischen Kunst und Architektur, Kunstlern und Architekten: ein potentiell kontroverses Thema von grossem Interesse fur Ausubende wie fur Foerderer. In den vergangenen Jahren haben sich die Arbeitspraktiken merklich verandert; zum Beispiel begeben sich Kunstler aus dem Atelier hinaus in die sich erweiternde Arena der public art. Es ist eine groessere Bereitschaft vorhanden, neue Kontexte, neue Medien und neue Territorien zu erforschen. Naturlich ist das nichts Neues: Die Arts-and-Crafts-Bewegung befurwortete die interdisziplinare Zusammenarbeit, was zu vielen schoenen Gebauden und Kunstwerken fuhrte. Zahlreiche Architekten scheinen sich heute jedoch vor einer Zusammenarbeit zu scheuen; unterscheidet sich das Produkt einer solchen Kooperation doch haufig vollkommen von dem, was jeder Partner unabhangig voneinander erreicht hatte. Zu den Mitarbeitern an diesem Band gehoeren unter anderen Frank Gehry, Claes Oldenburg und Michael Craig-Martin.

Arthur J. Elsley was the most popular 'chocolate box' artist of the late Victorian and Edwardian period; over 150 of his works were reproduced as prints. Long dismissed by art historians, this genre now demands reappraisal as an important aspect of Victorian art. Its appealing qualities are extremely accessible, presenting a comfortable, idealized world of clean, smiling children that has brought pleasure to millions.

Terry Parker has interviewed Elsley's only child and principal model, whose reminiscences and anecdotes bring his work to life. Her archive of photographs of Elsley's studio and models, together with his address book, provide rare insight into the workings of this artist.

Auction houses have witnessed an astronomical rise in the popularity of Elsley's oil paintings in the last ten years: one piece sold for $220,000.00 in 1996. Modern greeting card, calendar and print companies remain eager to reproduce his images, which are still found on a wide variety of products.

The author was one of the major Expressionist painters of the first half of the 20th century, and also wrote a number of plays, poems, and stories. These autobiographical writings, first written for his wife, are an intense evocation of incidents and moments which reveal his spiritual development. Translated from 'Das schriftliche Werk'.

Throughout the 1920s, a remarkable number of young writers and artists lived and worked in Madrid, creating an atmosphere of effervescence and an upsurge in creativity that has rarely been equalled. These young people, acquainting themselves with one another within the span of only a few years, came together to form a tightly woven network of both personal and artistic relationships. In Configurations of a Cultural Scene Andrew Anderson explores this growing community of artists and writers with a focus on how sites of face-to-face interaction in Madrid fostered creative work and forged young identities. Organizing locations into places of sociability, learning, and residence, Anderson offers five case studies that exemplify the significance of these three points of intersection: Rafael Barradas and his tertulia at the Cafe de Oriente; an artists' studio located on the Pasaje de la Alhambra; women art students at the Academia de San Fernando who lodged at the Residencia de Senoritas; the artist and writer Gabriel Garcia Maroto; and the close relationship between artist Maruja Mallo and poet Rafael Alberti. Departing from conventional approaches that foreground the trajectories of individual careers, Anderson privileges the lived experience of artists and writers in his analysis of a rich cultural scene held together by cooperation, exchange, and interpersonal connections.

Often regarded as an artistic movement of interwar Paris, Surrealism comprised an international community of artists, writers, and intellectuals who have aspired to change the conditions of life itself over the course of the past century. Consisting of a wide range of dedicated case studies from the 1920s to the 1970s, this book highlights the international dimensions of the Surrealist Movement, and the radical chains of thought that linked its followers across the globe: from France to Romania, and from Canada to the former Czechoslovakia. From very early on, the surrealists approached magic as a means of bypassing, discrediting, and combatting rationalism, capitalism, and other institutionalized systems and values that they saw to be constraining influences upon modern life. Surrealist Sorcery maps out how this interest in magic developed into a major area of surrealist research that led not only to theoretical but also practical explorations of the subject. Taking an international perspective, Atkin surveys this important quality of the movement and how it's remained an important element in the surrealist project and its ongoing legacy.

South African artist Irma Stern (1894–1966) is one of the nation’s most enigmatic modern figures. Stern held conservative political positions on race even as her subjects openly challenged racism and later the apartheid regime. Using paintings, archival research, and new interviews, this book explores how Stern became South Africa’s most prolific painter of Black, Jewish, and Colored (mixed-race) life while maintaining controversial positions on race. Through her art, Stern played a crucial role in both the development of modernism in South Africa and in defining modernism as a global movement. Spanning the Boer War to Nazi Germany to apartheid South Africa and into the contemporary #RhodesMustFall movement, Irma Stern’s work documents important 20th-century cultural and political moments. More than 50 years after her death, Stern’s legacy challenges assumptions about race, gender roles, and religious identity and how they are represented in art history.

At the forefront of the social revolution that transformed Mexico during the first half of the twentieth century were three artists whose work had a great impact on the country’s culture and politics: Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros. This latest volume in the MoMA Artist Series looks at ten important works by these artists represented in the collection of The Museum of Modern Art. An essay by art historian James Oles accompanies each work, illuminating its significance and placing it in the context of Mexico’s history and the development of modern art. This volume is an excellent introduction to the art and ideas of these influential artists.

Erika Szivos places the fine arts and their practitioners in the political, cultural, and social context of the Austro-Hungarian monarchy. She investigates the influence of European patterns on the public role of the arts and the changing status of the artist in fin-de-si?cle Hungary.

Jan Svankmajer wrote this remarkable book on tactile art when he stopped directing films after censorship by the Czechoslovakian government and experimented intensively with tactile phenomena and the creative imagination. Illustrated with over 100 images, the book is organized around many reproductions of Svankmajer's wondrous tactile art objects, tactile poems, experiments and games. It also includes dialogues with, and artworks by, other collaborating artists from the Group of Czech and Slovak Surrealists. Svankmajer also gathers together as contributors such notable exponents of tactual experience as Edgar Allen Poe, Guillaume Apollinaire, Salvador Dali, Marcel Duchamp, Meret Oppenheim, Ay-O, and F.T. Marinetti.Michael Havas, producer of some of Svankmajer's films, says of the book: 'it is typically Svankmajer: erudite and very consequential. Sometimes also very funny and erotic. Totally unique.'

Reading Graphic Design in Cultural Context explains key ways of understanding and interpreting the graphic designs we see all around us, in advertising, branding, packaging and fashion. It situates these designs in their cultural and social contexts. Drawing examples from a range of design genres, leading design historians Grace Lees-Maffei and Nicolas P. Maffei explain theories of semiotics, postmodernism and globalisation, and consider issues and debates within visual communication theory such as legibility, the relationship of word and image, gender and identity, and the impact of digital forms on design. Their discussion takes in well-known brands like Alessi, Nike, Unilever and Tate, and everyday designed things including slogan t-shirts, car advertising, ebooks, corporate logos, posters and music packaging.