"Black Square" Malevich's Enigma. (The mystery of "Black Square" by Kazimir Malevich) By Yuri Romanov, Egor Romanov and Boris Romanov "Black Square" - the most famous picture of Russian avant-garde artist Kazimir Malevich . Since 1915, "Black Square" is also called an "icon of avant-garde ." The discussions about the meaning of this "icon" are going on till now. This brochure tell about the three known versions of the immense popularity of this painting, and, in addition, the authors set up here the new version: The authors believe that the "Black Square" was a spontaneous foresight of modern virtual world, with its fundamental minimal element - pixel. The brochure is available in English and Russian languages. About the authors. Authors of the version of "pixel" - Yuri and Egor Romanovs, the Russian artists living in Germany. Boris Romanov - writer.

As well as telling for the first time the story of Hewitt Henry Rayner - probably the 20th century's most prolific drypoint etcher - this biography also provides fresh insights into the personality of Walter Sickert, observed during a friendship that lasted almost a decade. Matthew Sturgis, noted Sickert expert, has contributed the Foreword to this biography. He commented: This book adds many things to the record of Sickert s life, his working practices, his teaching methods, his work-spaces, and his character. It will be a useful and enduring addition to the story of early Twentieth Century British art. Australian-born Hewitt Henry Rayner came to England in 1923 at the age of 21 to study art, fell in love with London (and Chelsea in particular), and stayed for the rest of his life. He won a place at the Royal Academy Schools in 1925, where Sickert was a visiting teacher. The two struck up a friendship and saw each other regularly at Sickert s homes and studios, in cafes and restaurants, and sometimes sketching together in London locations. Sickert was a generous friend and mentor to Rayner, who assiduously noted down the things his master did and said. These first-hand reminiscences form a significant strand of the book. Other figures from London s artistic and literary worlds of the 1920s and 1930s who appear in the Rayner story include Augustus John, Nina Hamnett, Ethel Mannin, Yoshio Markino, Charles Sims, Dame Ethel Walker and Philip Wilson Steer. Unusually, and against Sickert s advice, Rayner chose drypoint etching as his principal medium, and from 1926 on adopted Henry Rayner as his professional name. Between 1926 and 1945 he produced what is quite probably the largest body of original drypoint etchings by any 20th century artist. Over 500 plates are known, most in his distinctive Impressionistic style. Most of the plates have survived. Although Rayner has been largely forgotten since his death in 1957, there are numerous institutions that hold examples of his drypoints. These include the V&A, the British Museum, the National Portrait Gallery and the Royal Collection at Windsor, as well as many regional galleries in Britain and major galleries in Australia and New Zealand. This biography charts Rayner s struggle to earn a living as an artist in the face of an economic depression, ill health, serious war injuries and - as he saw it - cold-shouldering by the British art establishment. It is rich in detail, thanks in part to a large archive of the artist s unpublished autobiographical manuscripts, notebooks, essays and correspondence, discovered recently. Some 95 examples of Rayner s work are reproduced in the book, together with 70 photographs, making it an important reference work on this neglected artist.

Sara Kristoffersson's compelling study provides the first sustained critical history of IKEA. Kristoffersson argues that the company's commercial success has been founded on a neat alignment of the brand with a particular image of Swedish national identity - one that is bound up with ideas of social democracy and egalitarianism - and its material expression in a pared-down, functional design aesthetic. Employing slogans such as "Design for everyone" and "Democratic design", IKEA signals a rejection of the stuffy, the 'chintzy', and the traditional in both design practices and social structures. Drawing on original research in the IKEA company archive and interviews with IKEA personnel, Design by IKEA traces IKEA's symbolic connection to Sweden, through its design output and its promotional materials, to examine how the company both promoted and profited from the concept of Scandinavian Design.

THE CUBIES' ABC Mary Mills Lyall ZHINGOORA BOOKS]

In In Montmartre, Sue Roe vividly brings to life the bohemian world of art in Paris between 1900-1910. When young Pablo Picasso arrived in Paris in October 1900 he made his way up the hillside of Montmartre...The real revolution in the arts first took place not, as is commonly supposed, in the 1920s to the accompaniment of the Charleston, black jazz and mint juleps but more quietly and intimately, in the shadow of the windmills - artificial and real - and in the cafes and cabarets of Montmartre during the first decade of the century. The cross-fertilization of painting, writing, music and dance produced a panorama of activity characterized by the early works of Picasso, Braque, Matisse, Derain, Vlaminck and Modigliani, the appearance of the Ballet Russe and the salons of Gertrude Stein. Sue Roe is the author of several books, including the New York Times bestselling collective biography The Private Lives of the Impressionists, and Gwen John: A Life. She lives in Brighton.

Volume 3 of Visual Century: South African Art in Context 1907-1948 is part of a four-volume publication that reappraises South African visual art of the twentieth century from a postapartheid perspective. Edited by Mario Pissarra, the volume looks at the years 1973 to 1992. The forw0rd by Rashied Araeen titled `Art and Human Struggle', sets the theme for this period. Bracketed by porous transitional moments in the early 1970s and 1990s, this volume covers a period characterised by a deepening of the struggle for democracy, a time when historical preoccupations with race were increasingly complemented with growing discourses on class and gender. It was a time when unprecedented internal and external pressure resulted in heightened introspection and action in and through the visual arts. The essays address a multiplicity of ways in which artists responded directly and indirectly to the challenges of this period, mostly as individuals but also through organisations. Resistance and complicity, and the spaces between, found expression in the use of everyday themes, biblical sources, ethnically derived themes, subtle and extreme forms of humour, as well as through representations of conflict. This is a period when challenging art was produced in community arts centres, universities and in public places, a time when the cultural boycott simultaneously united and polarised artists, and exiles mediated the ambivalences of `home'.

For over 100 years Modern Art has received almost universal praise. The author Eli Levin takes exception to this received wisdom. Mr. Levin is of the opinion that fine art has been in accelerating decline for a century and a half. He follows the changes in style from Courbet to Warhol, analyzing the works of well-known artists and pointing to a loss of technical ability, visualization and human concern. The author discerns a pattern in which each avant-garde movement rejects the previous one, with a relentless narrowing of options. ELI LEVIN is one of New Mexico's best-known living, working artists. Starting his career in Santa Fe in 1964, he became recognized for his paintings of local night life. While returning often to his Social Realist roots, his work has also explored mythology, still life, landscape and the nude. The son of novelist Meyer Levin, he has written art reviews and taught art history. He hosts two artist's gatherings, a model drawing group since 1969 and The Santa Fe Etching Club since 1980. Levin studied painting with Raphael Soyer, George Grosz and Robert Beverley Hale among others, and has Master's degrees from Wisconsin University and St. John's College. He continues to paint independently of the major art currents. He is also the author of "Santa Fe Bohemia, The Art Colony, 1964-1980," and "Disturbing Art Lessons," both from Sunstone Press.

Waiting at the Shore chronicles the extraordinary life of the Spanish artist Luis Quintanilla, championed by Ernest Hemingway, John Dos Passos, Elliot Paul, and many other American and European writers and artists. In 1912, at the age of 18, he ran off to Montmartre where, under the influence of his fellow countryman Juan Gris, he began his artistic career as a Cubist. Returning to Madrid before the war he befriended prominent Spaniards, including Juan Negrin, the Premier during the Spanish Civil War. In April 1931 he and Negrin participated in the peaceful revolution which ousted the monarchy and installed the Second Spanish Republic. When civil war broke out Quintanilla helped lead troops on Madrid's Montana Barracks, which saved the capital for the Republic. "Because great painters," as Hemingway put it, "are scarcer than good soldiers," the Spanish government [Negrin] ordered Quintanilla out of the army after the fascists were stopped outside Madrid. The artist completed 140 drawings of the various fronts of the war which were exhibited at New York's Museum of Modern Art, with a catalogue by Hemingway. After the Republic lost the war Quintanilla was forced into an exile which lasted several decades. Living in New York and in Paris he strove to perfect his art, shunning the modernist vogues of the time. Although a celebrity when he first arrived in the United States he eventually fell into obscurity. This volume, which is heavily illustrated, brings him out of the shadows of neglect, and provides the compelling story of an artist who led not just an extraordinary life but left a legacy of paintings and drawings which, in both their skill and great imaginative variety, should be known to all art lovers.

This is a new release of the original 1959 edition.

This book is the result the of the author's adventure in painting and work with Liane Collot d'Herbois (1907-1999), the well-known artist and therapist who worked in the tradition of Rudolf Steiner's spiritual research. The author learned to surrender to the beings of color, to remove one's self from the process, and to paint as "one would do mathematics," that is, in an orderly way. The journey recorded in Touched takes the reader first to Tintagel on the Atlantic coast of Cornwall, England, where Liane Collot d'Herbois had lived as a child. In the early 1990s, the author first met Liane in Driebergen, The Netherlands, and began a journey of self-discovery through color. She recollects conversations with Liane, shares significant words from Rudolf Steiner, Liane, and others, along with observations on her travels through England, Europe, Russia, Persia, and elsewhere. Underlying the narrative is Marie-Laure's more intimate journey into light and darkness and colors and the wise teaching of Liane Collot d'Herbois. She describes the effects of using charcoal to explore light and darkness, then moves on discuss colors individually and their effects, subtle and otherwise, while illuminating her text with the words of Rudolf Steiner and others and offering her own observations on artists and color. Touched offers a sound and practical introduction to the world of light and darkness and color, as well as insights that will inspire experienced artists.

Goods made or designed in Italy enjoy a profile which far outstrips the country's modest manufacturing output. Italy's glorious design heritage and reputation for style and innovation has 'added value' to products made in Italy. Since 1945, Italian design has commanded an increasing amount of attention from design journalists, critics and consumers. But is Italian design a victim of its own celebrity? Made in Italy brings together leading design historians to explore this question, discussing both the history and significance of design from Italy and its international influence. Addressing a wide range of Italian design fields, including car design, graphic design, industrial and interior design and ceramics, well-known designers such as Alberto Rosselli and Ettore Sottsass, Jr. and iconic brands such as Olivetti, Vespa and Alessi, the book explores the historical, cultural and social influences that shaped Italian design, and how these iconic designs have contributed to the modern canon of Italian-inspired goods.

This book provides the most comprehensive survey of contemporary Palestinian art to date. The development of contemporary practice, theory and criticism is understood as integral to the concomitant construction of Palestinian national identities. In particular the book explores the intricate relationship between art and nationalism in which the idea of origin plays an important and problematic role. The book deconstructs the existing narratives of the history of Palestinian art, which search for its origins in the 19th century, and argues that Palestinian contemporary art demonstrates pluralistic, politically and philosophically complex attitudes towards identity and nation that confound familiar narratives of origin and belonging. The book builds upon theories of art, nationalism and post-colonialism particularly in relation to the themes of fragmentation and dispersal. It takes the Arabic word for Diaspora Shatat (literally broken apart) as a central concern in contemporary understanding of Palestinian culture and develops it, along with Edward Said's paradoxical formula of a 'coherence of dispersal' as the organising concept of the book. This aspect of contemporary Palestinian art is peculiarly suited to the conditions produced by the globalisation of art and we show how Palestinian artists, despite not having a state, have developed an international profile.

BREAKING FRAME, first published by Rutgers University Press, is a groundbreaking view of how artists and designers dealt with the tremors of technology as new industries and mechanical inventions dramatically transformed human life. Artists captured the explosive impact of the Industrial Revolution and new transportation machines in their images of factories spewing smoke, trains crashing, and comic views of people-turned-automatons as they happily walk along in their steam-powered legs and ride precariously in their fanciful flying machines.

The provocative introduction new to this Authors Guild-sponsored edition links the book to today s technology, art, and design. Reviewers like Yale professor Alan Trachtenberg have called BREAKING FRAME "perceptive, lucid, engaging"---"a book that becomes more pertinent every day." Filled with illustrations, the book is an engaging study that will appeal to readers with a wide range of interests including history, art, computers, sociology, engineering, robotics, visual culture, and more.

Dr. Wosk has published widely on art and technology, including her books Women and the Machine: Representations From the Spinning Wheel to the Electronic Age (Johns Hopkins University Press) and Alluring Androids, Robot Women, and Electronic Eves.

From 1918 until the early 1930s, Georgia O Keeffe lived for part of the year on Alfred Stieglitz s family estate at Lake George, New York. O'Keeffe and Stieglitz stayed there from spring until fall, and she reveled in the discovery of new subject matter. She found respite in the bucolic setting, and in her studio, nicknamed the shanty, she could concentrate on her work without the distractions of city life and the Stieglitz clan that congregated at the lake in the summer months. The Lake George retreat provided the basic material for her art, while evoking the spirit of place that was essential to O Keeffe s modern approach to the natural world. This book, and the exhibition it accompanies, examines the extraordinary body of work O Keeffe created there, from magnified botanical compositions of the flowers and vegetables she grew in her garden to a group of remarkable still lifes of the apples and pears that she picked. O Keeffe became fascinated with the variety of trees that grew there, and they were the subject of at least twenty-five compositions. Architectural subjects emerged as a theme, as did a number of panoramic landscape paintings and bold, color-filled abstractions. During this highly productive period, O Keeffe created more than two hundred paintings on canvas and paper in addition to sketches and pastels, making the Lake George years among the most prolific and transformative of her seven-decade career.

"

Literary Nonfiction. Poetry History & Criticism. Revised and Expanded Second Edition. Here is the definitive biography of American poet and artist Kenneth Patchen. Kenneth Patchen (1911-1972) was a poet, novelist, artist, performer of poetry-jazz in the tradition of engaged writing which he helped forge in America. Producing a book a year during his writing life, his work and life stand as a huge exposed girder in the structure of American culture and art. His friendships with such writers as James Laughlin, Henry Miller, E. E. Cummings, Muriel Rukeyser, Amos Wilder, Dylan Thomas, Lewis Mumford, Kenneth Rexroth, David Dellinger, Jonathan Williams, and Lawrence Ferlinghetti place him at the center of dissident writing in America.Rising from his native grounds in working-class Ohio, he became a leading figure among the Leftist thinkers and artists of 1930s and 1940s Greenwich Village, then moved on to the West Coast where he created dynamic blends of poetry and art, poetry and jazz, poetry and theater. Finally crippled with back pain during the last decades of his life, he created the famed picture poems of his Wonder Period.For four decades on East and West Coasts, by the force of his will and native genius, Patchen molded life and art as one. With the loving support of wife Miriam, he endured the pain and travail of years of struggle to recast an art based on truth and striking beauty. The tale of Kenneth and Miriam Patchen has become one of the great lover stories of American literature. His is the story of the rebel artist in America."In my eyes Kenneth Patchen is now and will remain one of the outstanding figures in American letters. He represents all that a poet should represent, whether expressing himself in verse, in prose, in paint, or in action. By his example he has given courage, direction, and inspiration to more poets than anyone I know of on this continent Patchen stands out like a shining warrior, a herald of peace and truth, endowed with invincible heart and integrity. No one can read him without being affected--and influenced in his own life and work. It is not only the youth who are indebted to him but all of us, unto the last and most fanatically ardent defender of the Word."--Henry Miller

Title: The Felon's Track: a narrative of '48. Embracing the leading events in the Irish struggle from the year 1843 to the close of 1848 ... Second edition. Edited by M. J. Doheny.]Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The HISTORY OF BRITAIN & IRELAND collection includes books from the British Library digitised by Microsoft. As well as historical works, this collection includes geographies, travelogues, and titles covering periods of competition and cooperation among the people of Great Britain and Ireland. Works also explore the countries' relations with France, Germany, the Low Countries, Denmark, and Scandinavia. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Doheny, Michael; Doheny, Mary Jane; 1867. 8 . 9509.b.23.

A fresh perspective on the influential critic, offering new ways of understanding the art of the Harlem Renaissance Alain Locke (1885-1954), leading theorist of the Harlem Renaissance, maintained a lifelong commitment to the visual arts. Offering an in-depth study of Locke's writings and art world interventions, Kobena Mercer focuses on the importance of cross-cultural entanglement. This distinctive approach reveals Locke's vision of modern art as a dynamic space where images and ideas generate new forms under the fluid conditions of diaspora. Positioning the philosopher as an advocate for an Afromodern aesthetic that drew from both formal experiments in Europe and the iconic legacy of the African past, Mercer shows how Aaron Douglas, Lois Mailou Jones, and other New Negro artists acknowledged the diaspora's rupture with the ancestral past as a prelude to the rebirth of identity. In his 1940 picture book, The Negro in Art, Locke also explored the different ways black and white artists approached the black image. Mercer's reading highlights the global mobility of black images as they travel across national and ethnic frontiers. Finally, Mercer examines how Locke's investment in art was shaped by gay male aestheticism. Black male nudes, including works by Richmond Barthe and Carl Van Vechten, thus reveal the significance of queer practices in modernism's cross-cultural genesis. Published in association with the Hutchins Center for African & African American Research, Harvard University

The significant anarchist, black, and socialist world-movements that emerged in the late nineteenth century and early twentieth adapted discourses of sentiment and sensation and used the era's new forms of visual culture to move people to participate in projects of social, political, and economic transformation. Drawing attention to the vast archive of images and texts created by radicals prior to the 1930s, Shelley Streeby analyzes representations of violence and of abuses of state power in response to the Haymarket police riot, of the trial and execution of the Chicago anarchists, and of the mistreatment and imprisonment of Ricardo and Enrique Flores Magon and other members of the Partido Liberal Mexicano. She considers radicals' reactions to and depictions of U.S. imperialism, state violence against the Yaqui Indians in the U.S.-Mexico borderlands, the failure of the United States to enact laws against lynching, and the harsh repression of radicals that accelerated after the United States entered the First World War. By focusing on the adaptation and critique of sentiment, sensation, and visual culture by radical world-movements in the period between the Haymarket riots of 1886 and the deportation of Marcus Garvey in 1927, Streeby sheds new light on the ways that these movements reached across national boundaries, criticized state power, and envisioned alternative worlds.

An overview of the work of this emerging contemporary artist. Fully illustrated with sketches, video stills and collages.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, along with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Constantin Brancusi's studio in Paris, Brancusi's works in museums in New York, Washington and L.A., and the art of his contemporaries.

With bibliography and notes. ISBN 9781861713384. 180 pages.

This new (5th) edition has been revised.

www.crmoon.com

AUTHOR'S NOTE: The art of Constantin Brancusi never ceases to fascinate and inspire, and it always seems fresh, as if it had been created fives minutes ago, no matter how many times you look at it. When you encounter a Brancusi sculpture in a museum, it pops out, clear and direct; there is simply nothing else like Brancusi's art in history. I have tried to explore the key elements of Brancusi's art, and the important events in his development as a sculptor. I have also included comparisons with other artists of the period, and also how Brancusi's art has influenced many subsequent artists.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Brancusi's studio in Paris, and the art of his contemporaries.

A collection of images and graphics from historyofcuba.com, including restored images of Jose Marti, Antonio Maceo and others.

On the surface, the relationship between comics and the 'high' arts once seemed simple; comic books and strips could be mined for inspiration, but were not themselves considered legitimate art objects. Though this traditional distinction has begun to erode, the worlds of comics and art continue to occupy vastly different social spaces.

Comics Versus Art examines the relationship between comics and the most important institutions of the art world; including museums, auction houses, and the art press. Bart Beaty's analysis centres around two questions: why were comics excluded from the history of art for most of the twentieth century, and what does it mean that comics production is now more closely aligned with the art world? Approaching this relationship for the first time through the lens of the sociology of culture, Beaty advances a completely novel approach to the comics form.

French and Spanish Catalonia boast an extraordinary cultural heritage. Picturesque Catalonian villages have inspired artists such as Henri Matisse, Aristide Maillol, Pablo Picasso, Marc Chagall, Raoul Dufy, Salvador Dali, and many others. Forever linked to three major art movements (Fauvism, Cubism and Surrealism) Catalonia has played a critical role in the development of modern art. This narrative guidebook explores how Catalonia's landscape, culture and people influenced the early artistic development of now-legendary painters, sculptors, and writers. Readers will also discover for the first time the full details of Gauguin's mysterious visit to Catalonia in the summer of 1883."The Colors of Catalonia" reveals personal anecdotes that capture the daily lives of the artists, exploring their motivations, their friendships, and their influences. The book's extensive research (conducted in French and English) includes exhibition catalogues, diaries, memoirs, and personal letters between the artists, their art dealers, and family members. "The Colors of Catalonia" also highlights the supportive role played by Catalan artists such as Etienne Terrus, Gustave Violet, Ramon Pichot, Santiago Rusinol, and the collector Gustave Fayet (in nearby Aude), whose talent, vision, and generosity deserve to be recognized.Certain excerpts from George-Daniel de Monfreid's diary, yet to be published, are available in English for the first time. Paul Gauguin's closest confidant hosted Matisse at his home in Corneilla-de-Conflent, along with Gauguin's widow and his son Jean Rene. In the diary, de Monfreid gave insight into his relationship with his son, the well-known French writer and adventurer Henry de Monfreid.