Robin Walz's updated Modernism, now part of the Seminar Studies series, has been updated to include significant primary source material and features to make it more accessible for students returning to, or studying the topic for the first time. The twentieth century was a period of seismic change on a global scale, witnessing two world wars, the rise and fall of communism, the establishment of a global economy, the beginnings of global warming and a complete reversal in the status of women in large parts of the world. The modernist movements of the early twentieth century launched a cultural revolution without which the multi-media-driven world in which we live today would not have been possible. Today modernism is enshrined in art galleries and university courses. Its techniques of abstraction and montage, and its creative impulse to innovate and shock, are the stock-in-trade of commercial advertising, feature films, television and computer-generated graphics. In this concise cultural history, Robin Walz vividly recaptures what was revolutionary about modernism. He shows how an aesthetic concept, arising from a diversity of cultural movements, from Cubism and Bauhaus to Abstract Expressionism and Pop Art, and operating in different ways across the fields of art, literature, music, design and architecture, came to turn intellectual and cultural life and assumptions upside down, first in Europe and then around the world. From the nineteenth century origins of modernism to its postmodern legacies, this book will give the reader access to the big picture of modernism as a dynamic historical process and an unfinished project which still speaks to our times.

F.C.B. Cadell was born in Edinburgh, where he lived for most of his life, and studied in Paris and Munich. This book illustrates many of the works for which Cadell is celebrated, including stylish portrayals of Edinburgh New Town interiors, vibrantly coloured, daringly simplified still lives of the 1920s, and evocative landscapes of the Scottish west coast and the south of France. Based on new research, a special section concentrates on Cadell's relationship with Iona, where he painted nearly every year from 1912 until 1935. The book accompanies a major exhibition at the Scottish National Gallery of Modern Art, the first retrospective exhibition of Cadell's work held at a public gallery since 1942.

The jewel-like watercolours of renowned Irish botanical artist Wendy Walsh portray a personal selection of about 100 plants that grow wild in Ireland or are cultivated in Irish gardens. Presented in 33 thematic sections,Walsh's subjects range from well-loved and distinctive native plants to exotic species introduced from the New World and Asia, unusual plants that grow in some of the most extreme environments in Ireland, and striking hybrids created by plant breeders. Lively and accessible horticultural descriptions by distinguished botanist E. Charles Nelson accompany the paintings, celebrating the story of each plant along with its natural beauty. The great gardens, famous plantsmen, fascinating journeys and natural phenomena that have shaped the flora of Ireland spring to life in Dr Nelson's engaging text. This elegant and unconventional guide will kindle the imagination of any plant lover or admirer of the Irish landscape.

A radically new interpretation of Picasso's life and work by an important Jungian scholar, The Psychological Roots of Modernism is an exciting contribution to the fields of both Jungian psychology and cultural criticism. All of Picasso's major works, from the Blue period masterpieces to the abstractions of mature Cubism, are examined as part of a single narrative which directly challenges our assumptions, and the views of a number of prominent art historians, and provides an entirely new perspective on the signature achievements of the modernist movement. Beginning with Picasso's first months in Paris, the author shows how Picasso's art evolved as a hero's journey, involving encounter with the unconscious, the emergence of a strengthened ego, and the eventual balance of the ego and the unconscious which attained visible expression in the forms of Cubism. Through the Jungian framework, the reader is able to understand how not only Picasso's art, but his relations to his mistress and colleagues, his changing lifestyle and work habits, and his attraction to major Modernist figures like Rousseau and Cezanne were expressions of this psychological transformation. While using Jung to illuminate Picasso, The Psychological Roots of Modernism also employs Picasso to illuminate Jung, providing the clearest and most compelling support for the bedrock principles of analytical psychology. The book's powerful application of Jung's psychology and its radically new perspectives on Picasso's art make it essential reading for students in the fields of art history and Freudian and Jungian psychology.

The notion of a person--or even an object--having a "double" has been explored in the visual arts for ages, and in myriad ways: portraying the body and its soul, a woman gazing at her reflection in a pool, or a man overwhelmed by his own shadow. In this edited collection focusing on nineteenth- and twentieth-century western art, scholars analyze doppelgangers, alter egos, mirror images, double portraits and other pairings, human and otherwise, appearing in a large variety of artistic media. Artists whose works are discussed at length include Richard Dadd, Salvador Dali, Egon Schiele, Frida Kahlo, the creators of Superman, and Nicola Costantino, among many others.

In 1797 Friedrich Schlegel wrote that "philosophy of art usually lacks one of two things: either the philosophy, or the art." This collection of essays contains both the philosophy and the art. It brings together an international team of leading philosophers to address diverse philosophical issues raised by recent works of art. Each essay engages with a specific artwork and explores the connection between the image and the philosophical content. Thirteen contemporary philosophers demonstrate how philosophy can aid interpretation of the work of ten contemporary artists, including: Jesse Prinz on John Currin Barry C. Smith and Edward Winters on Dexter Dalwood Lydia Goehr and Sam Rose on Tom de Freston Raymond Geuss on Adrian Ghenie and Chantal Joffe Hallvard Lillehammer on Paul Noble M. M. McCabe and Alexis Papazoglou on Ged Quinn Noel Carroll on Paula Rego Simon Blackburn and Jerrold Levinson on George Shaw Sondra Bacharach on Yue Minjun. The discussion ranges over ethical, political, psychological and religious concepts, such as irony, disgust, apathy, inequality, physiognomy and wonder, to historical experiences of war, Marx-inspired political movements and Thatcherism, and standard problems in the philosophy of art, such as expression, style, depiction and ontology of art, as well as major topics in art history, such as vanitas painting, photography, pornography, and Dadaism. Many of the contributors are distinguished in areas of philosophy other than aesthetics and are writing about art for the first time. All show how productive the engagement can be between philosophy, more generally, and art.

Liberation Begins in the Imagination is a vital new anthology exploring the contribution of the Caribbean to the story of Britain and British art today. Bringing together existing writings and previously unpublished texts from the post-war period to the present, as well as revelatory new essays from the world's most influential voices on the subject, Liberation Begins in the Imagination is an essential guide to Caribbean-British art. Contributors include: Rasheed Araeen, Coco Fusco, Paul Gilroy, Stuart Hall, Roshini Kempadoo, George Lamming, Errol Lloyd, John Lyons, Amna Malik, Courtney J. Martin, Michael McMillan, Kobena Mercer, Richard J. Powell, Elizabeth Robles, Lou Smith, Helen Sumpter, Claire Tancons, Gilane Tawadros, Jessica Taylor and Yvonne Weekes.

The War Artists' Advisory Committee (WAAC) were responsible for the production of some of the most iconic images of the Second World War. Despite its rich historical value, this collection has been poorly utilised by historians and hasn't been subjected to the levels of analysis afforded to other forms of wartime culture. This innovative study addresses this gap by bringing official war art into dialogue with the social, economic and military histories of the Second World War. Rebecca Searle explores the tensions between the documentarist and propagandistic roles of the WAAC in their representation of aerial warfare in the battle for production, the Battle of Britain, the Blitz and the bombing of Germany. Her analyses demonstrate that whilst there was a strong correlation between war art and propaganda, the WAAC depicted many aspects of experience that were absent from wartime propaganda, such as class divisions within the services, gendered hierarchies within industries, civilian death and the true nature of the bombing of Germany. In addition, she shows that propagandistic constructions were not entirely separate from lived experience, but reflected experience and shaped the way that individuals made sense of the war. Accessibly written, highly illustrated and packed with valuable examples of the use of war art as historical source, this book will enhance our understanding of the social and cultural history of Britain during the Second World War.

The eighth volume of the International Yearbook of Futurism Studies is again an open issue and presents in its first section new research into the international impact of Futurism on artists and artistic movements in France, Great Britain, Hungary and Sweden. This is followed by a study that investigates a variety of Futurist inspired developments in architecture, and an essay that demonstrates that the Futurist heritage was far from forgotten after the Second World War. These papers show how a wealth of connections linked Futurism with Archigram, Metabolism, Archizoom and Deconstructivism, as well as the Nuclear Art movement, Spatialism, Environmental Art, Neon Art, Kinetic Art and many other trends of the 1960s and 70s. The second section focuses on Futurism and Science and contains a number of papers that were first presented atthe fifth bi-annual conference of the European Network for Avant-Garde and Modernism Studies (EAM), held on 1-3 June 2016 in Rennes. They investigate the impact of science on Futurist aesthetics and the Futurist quest for a new perception and rational understanding of the world, as well as the movement's connection with the esoteric domain, especially in the field of theosophy, the Hermetic tradition, Gnostic mysticism and a whole phalanx of Spiritualist beliefs. The Archive section offers a survey of collections and archives in Northern Italy that are concerned with Futurist ceramics, and a report on the Fondazione Primo Conti in Fiesole, established in April 1980 as a museum, library and archive devoted to the documentation of the international avant-garde, and to Italian Futurism in particular. A review section dedicated to exhibitions, conferences and publications is followed by an annual bibliography of international Futurism studies, exhibition catalogues, special issues of periodicals and new editions.

Through intricate patterns, rich color, and startling juxtapositions. Douglas Johnson entices the viewer into a world in which dream, myth, and ritual have a power transcending everyday reality. He is a true original, whose magically evocative works defy classification. The artist's inspiration draws its richness from the ancient cultures of North America, Mexico, Peru, Egypt, and Asia. His gem-like miniatures, often depicting pre-Columbian ruins, scenes of early Indian life, and exquisite birds and flowers, have gained wide critical acclaim over the past 30 years, and are represented in numerous private, corporate, and museum collections. Robert Ewing's biography of Johnson discusses the experiences and influences that shaped him as an artist. Viewing 80 full-color reproductions of his paintings, readers will understand why collectors and critics continue to be astonished and captivated by Douglas Johnson's mysterious images.

All cultures make, and break, images. Striking Images, Iconoclasms Past and Present explores how and why people have made and modified images and other cultural material from pre-history into the 21st century. With its impressive chronological sweep and disciplinary breadth, this is the first book about iconoclasm (the breaking of images) and the transformation of broader sets of signs that includes contributions from archaeologists, curators, and museum conservators as well as historians of art, literature and religious studies. The chapters examine themes critical to the study of iconoclasm: violence, punishment, memory, intentionality, ruins and relics and their survival. The conclusion shows how cross-disciplinary debate amongst the contributors informed Tate Britain's 'Art under Attack' exhibition (2013) and addresses the challenges iconoclasm presents to the modern museum. By juxtaposing objects and places usually considered in isolation, Striking Images raises provocative questions about our understandings of cross-cultural differences and the value of representational objects from the broken swords of pre-historical bog graves to the Bamiyan Buddhas and contemporary art. Are any such objects ever 'finished', or are they simply subject to constant transformation? In dialogue with each other, the essays consider this question and expand the field of iconoclasm - and cultural - studies.

In this lavishly illustrated study, the scholar and critic Yi Ying brings a distinctly Chinese perspective to the development of art and artists in China since 1949. These have been years of dramatic change for China, and the art of this period is therefore of historical, political and cultural interest, being first used to promote the revolutionary cause, later to question and criticise and, more recently, charting the changes in cultural and economic policy that have taken place since 1978. In the twenty-first century, Chinese art is diverse, distinctive, and highly prized in the global art market. Presented here in English translation for the first time, Yi's narrative opens up fresh questions about both the nature of contemporary art and the China of today.

A charming and heartfelt story about war, art, and the lengths a woman will go to find the truth about her family. 'As devourable as a thriller... Incredibly moving' Elle 'Pauline Baer de Perignon is a natural storyteller - refreshingly honest, curious and open' Menachem Kaiser 'A terrific book' Le Point It all started with a list of paintings. There, scribbled by a cousin she hadn't seen for years, were the names of the masters whose works once belonged to her great-grandfather, Jules Strauss: Renoir, Monet, Degas, Tiepolo and more. Pauline Baer de Perignon knew little to nothing about Strauss, or about his vanished, precious art collection. But the list drove her on a frenzied trail of research in the archives of the Louvre and the Dresden museums, through Gestapo records, and to consult with Nobel laureate Patrick Modiano. What happened in 1942? And what became of the collection after Nazis seized her great-grandparents' elegant Parisian apartment? The quest takes Pauline Baer de Perignon from the Occupation of France to the present day as she breaks the silence around the wrenching experiences her family never fully transmitted, and asks what art itself is capable of conveying over time.

"This fine memoir is more insightful than gossipy, and as a subject Bacon is just about unbeatable." -- The New York Times In June of 1963, when Michael Peppiatt first met Francis Bacon, the former was a college boy at Cambridge, the latter already a famous painter, more than thirty years his senior. And yet, Peppiatt was welcomed into the volatile artist's world; Bacon, considered by many to be "mad, bad, and dangerous to know," proved himself a devoted friend and father figure, even amidst the drinking and gambling. Though Peppiatt would later write perhaps the definitive biography of Bacon, his sharply drawn memoir has a different vigor, revealing the artist at his most intimate and indiscreet, and his London and Paris milieus in all their seediness and splendor. Bacon is felt with immediacy, as Peppiatt draws from contemporary diaries and records of their time together, giving us the story of a friendship, and a new perspective on an artist of enduring fascination.

In the turbulent atmosphere of early twentieth-century Tsarist Russia, avant-garde artists took advantage of a newly pluralistic culture in order to challenge orthodoxies of form as well as social prohibitions. Very few did this as effectively, or to as broad an audience, as Mikhail Larionov. This groundbreaking study examines the complete range of his work (painting, book illustration, performance, and curatorial work), and demonstrates that Larionov was taking part in a broader cultural conversation that arose out of fundamental challenges to autocratic rule. Sarah Warren brings the culture of late Imperial Russia out of obscurity, highlighting Larionov's specific interventions into conversations about nationality and empire, democracy and autocracy, and people and intelligentsia that colonized all areas of cultural production. Rather than analyzing Larionov's works within the same interpretive frameworks as those of his contemporaries in France or Germany-such as Matisse or Kirchner-Warren explores the Russian's negotiations with both nationalism and modernism. Further, this study shows that Larionov's group exhibitions, public debates, and face-painting performances were more than a derivative repetition of the techniques of the Italian Futurists. Rather, these activities were the culmination of his attempt to create a radical primitivism, one that exploited the widespread Russian desire for an authentic collective identity, while resisting imperial efforts to appropriate this revivalism to its own ends.

The name which predominates in the development of art throughout the twentieth century, and to which many of the revolutionary changes are ascribed, is that of Pablo Picasso (1881-1973). Not only was he one of the most influential artists, he was also one of the most versatile. This beautifully produced book surveys the whole range of his paintings, from the haunting works of the Blue Period, to the brute power of Les Demoiselles d'Avignon, the lyrical sweetness of his family portraits, the revolutionary developments of Cubism and the later manifold experimentations with form and colour. Roland Penrose's introductory essay on Picasso was first published in 1971, when the great master was still alive. Penrose was acclaimed in his own right as a painter, and his long friendship with Picasso gave him unique insight into his life and work. David Lomas has written a preface introducing us to the friendship between these two artists. He has also written notes to each full-page colour plate, discussing the picture in detail, making this a perfect introduction to the twentieth century's most famous artist.

Taking as its starting point four contemporary visual artists whose work utilizes the conventions of museum display and collecting practices, "Memory Fragments" examines how these artists have reconfigured dominant representations of Australian history and identity, including viewpoints often marginalized by gender and race. Echoing Walter Benjamin's reflections on history and time, this interdisciplinary volume will be of interest to scholars working in the arts as well as modern and postmodern cultural studies.

Subtle and wide-ranging in its account, this study explores the impact of Australian art in Britain in the two decades following the end of World War II and preceding the 'Swinging Sixties'. In a transitional period of decolonization in Britain, Australian painting was briefly seized upon as a dynamic and reinvigorating force in contemporary art, and a group of Australian artists settled in London where they held centre stage with group and solo exhibitions in the capital's most prestigious galleries. The book traces the key influences of Sir Kenneth Clark, Bernard Smith and Bryan Robertson in their various (and varying) roles as patrons, ideologues, and entrepreneurs for Australian art, as well as the self-definition and interaction of the artists themselves. Simon Pierse interweaves multiple issues of the period into a cohesive historical narrative, including the mechanics of the British art world, the limited and frustrating cultural scene of 1950s Australia, and the conservative influence of Australian government bodies. Publishing for the first time archival material, letters, and photographs previously unavailable to scholars either in Britain or Australia, this book demonstrates how the work of expatriate Australian artists living in London constructed a distinct vision of Australian identity for a foreign market.

An exhibition of images from the book will be shown at the National Portrait Gallery in summer 2008. This stunningly illustrated volume offers a visual survey of 33 of the most original and provocative artists of our time. Here, we see them in their working environment - in moments of concentration, inspiration, and relaxation. McCAbe's photographs offer a revealing insight into the lives and work of the artists, while McNay skillfully extracts details about their craft, workplace, and personality - alongside his own candid observations on each subject.

Keep calm and carry on. In 1939, Britain s Ministry of Information produced this now-ubiquitous reminder to its citizens in the event of widely predicted air attacks. But in the six consecutive years before Germany s surrender to Allied forces, the British public would feel keenly both the physical and moral hardships of war. To boost morale and raise awareness of how citizens efforts might helpor hinderthe wartime effort, one of the most effective forms the British government had at its disposal was the poster. "British Posters of the Second World War" presents one hundred posters from this important period in world history. Some proclaimed in bold type that Victory of the Allies is assured and featured stalwart British soldiers alongside exaggerated enemy figures. Others, however, hung on the walls of bus and railway stations, town halls, and pubs, called for continued self-sufficiency, urging Britons to raise chickens and join pig clubs. As the threat of espionage came to be regarded as ever-present, another category of posters cautioned soldiers and civilians alike against talking about the war: Furtive Fritz is always listening warned one; another, Keep mumshe s not so dumb. Drawing on the Imperial War Museum s impressive collection of materials related to conflicts involving Britain in the twentieth and twenty-first centuries, "British Posters of the Second World War" explores these campaigns and many others with an introduction and explanatory text by the museum s senior curator, Richard Slocombe."

A major study of Ukrainian art from 1900 to the mid-1930s - with loans from major museums in Ukraine, elsewhere in Europe, the United States (including MoMA) and Israel. How does artistic life flourish during revolution and conflict? Ukraine in the early 1900s endured unimaginable political upheaval, yet this became a period of true renaissance in Ukrainian art, literature, theatre and cinema. In the Eye of the Storm: Modernism in Ukraine, 1900-1930s presents the ground-breaking art produced in Ukraine in the early 20th century, focusing on the three key cultural centres of Kyiv, Kharkiv and Odesa. Against a complicated socio-political backdrop of collapsing empires, World War I, the revolutions of 1917 with the ensuing Ukrainian War of Independence, and the eventual creation of Soviet Ukraine, several strands of distinctly Ukrainian art emerged. While emigres such as Sonia Delaunay and Alexander Archipenko found fame outside their homeland, the followers of Mykhailo Boichuk focused on Byzantine revivalism, and the artists of the Kultur Lige sought to promote the development of contemporary Yiddish culture. The first avant-garde exhibitions in Ukraine featured the radical art of Davyd Burliuk and Alexandra Exter, and the dynamic canvases of the Kyiv-based Cubo-Futurist Oleksandr Bohomazov. In Kharkiv, Vasyl Yermilov championed the industrial art of Constructivism, while Vadym Meller, Anatol Petrytskyi, Oleksandr Khvostenko-Khvostov and Borys Kosarev revolutionized theatre design. The attempt to build a national identity in Ukraine resulted in a polyphony of styles and artistic developments across a full range of media - from oil paintings, sketches and sculpture to collages, cinema posters and theatre designs. Twelve internationally renowned scholars, including curators from the National Art Museum of Ukraine, bring to life this astonishing period of creativity in Ukraine and all the movements it encompassed.

In 1950, photographer Gisele Freund embarked on a two-week trip to Mexico, but she wouldn't leave until two years later. There she met the legendary couple Frida Kahlo and Diego Rivera. Welcomed into their home, she immersed herself in their private lives and the cultural and artistic diversity of the country, taking hundreds of photographs. These powerful photographs, among the last taken before Kahlo's death, bear poignant witness to Frida's beauty and talent.Showcasing more than 100 of these rare images, many of which have never been published before, the book also includes previously unpublished commentary by Gisele Freund about Frida Kahlo, texts by Kahlo's biographer Gerard de Cortanze and art historian Lorraine Audric, as well as a link to a previously unreleased colour film, shot by Freund, showing Diego Rivera at work.

Picturing Cuba explores the evolution of Cuban visual art and its links to cubanía, or Cuban cultural identity. Featuring artwork from the Spanish colonial, republican, and postrevolutionary periods of Cuban history, as well as the contemporary diaspora, these richly illustrated essays trace the creation of Cuban art through shifting political, social, and cultural circumstances.Contributors examine colonial-era lithographs of Cuba's landscape, architecture, people, and customs that portrayed the island as an exotic, tropical location. They show how the avant-garde painters of the vanguardia, or Havana School, wrestled with the significance of the island's African and indigenous roots, and they also highlight subversive photography that depicts the harsh realities of life after the Cuban Revolution. They explore art created by the first generation of postrevolutionary exiles, which reflects a new identity—lo cubanoamericano, Cuban-Americanness—and expresses the sense of displacement experienced by Cubans who resettled in another country. A concluding chapter evaluates contemporary attitudes toward collecting and exhibiting post-revolutionary Cuban art in the United States. Encompassing works by Cubans on the island, in exile, and born in America, this volume delves into defining moments in Cuban art across three centuries, offering a kaleidoscopic view of the island's people, culture, and history.