Modern Art: A Critical Introduction traces the historical and contemporary contexts for understanding modern art movements, and the theories which influenced and attempted to explain them. This approach forgoes the chronological march of art movements and isms in favour of looking at the ways in which art has been understood. It investigates the main developments in art interpretation from the same period, from Kant to post-structuralism, and draws examples from a wide range of art genres including painting, sculpture, photography, installation and performance art. The book includes detailed discussions of visual art practices both inside and outside the museum. This new edition has been restructured to make the key themes as accessible as possible and updated to include many more recent examples of art practice . An expanded glossary and margin notes also provide definitions of the range of terms used within theoretical discussion and critical reference. Individual chapters explore key themes of the modern era, such as the relationship between artists and galleries, the politics of representation, the changing nature of self-expression, the public monument, nature and the urban,

The only book available on Scottish painting, this book is now in its third edition with a new introduction and final chapter that brings the book up to date with the latest developments in Scottish painting (Richard Wright's win of the Turner Prize 2009). Illustrated throughout, the work is by acknowledged authority on Scottish painting William Hardie. Scottish society has been reflected through the strong colour and energetic brushwork of its artists. The book traces the beginnings of Scottish painting from the foundation of the Foulis Academy in 1753, with William Dyce and Scott Lauder establishing themselves in the south, followed by W Q Orchardson and John Pettie around 1860. European travel ensured Scottish painters were open to new techniques, and the explosion of the Glasgow Boys and then the Colourists onto the scene meant Scotland was respected for its innovation and imagination. Charles Rennie Mackintosh today is still internationally recognised for his work, and the painting of John Byrne, Curister, and Peter Howson bring the book to the present day.

Photographs have a strange and powerful way of shaping the way we see the world. The most successful images enter our collective consciousness, defining eras, making history, or simply touching something so fundamentally human and universal that they have become resonant icons all over the globe. To explore this unique influence, Photo Icons puts some of the most important photographic landmarks under the microscope. From some of the earliest photography, such as Nicephore Niepce's 1827 eight-hour-exposure rooftop picture and Louis Daguerre's famous 1838 street scene, through to Martin Parr, this is as much a history of the medium as a case-by-case analysis of its social, historical, and artistic impact. We take in experimental Surrealist shots of the 1920s and the gritty photorealism of the 1930s, including Dorothea Lange's Migrant Mother. We witness the power-makers (Che Guevara) and the heartbreakers (Marilyn Monroe) as well as the great gamut of human emotions and experiences to which photography bears such vivid witness: from the euphoric Kiss in Front of City Hall (1950) by Doisneau to the horror of Nick Ut's Napalm Against Civilians showing nine-year-old Phan Thi Kim Phuc running naked toward the camera from South Vietnamese napalm. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

Whereas recent studies of early modern widowhood by social, economic and cultural historians have called attention to the often ambiguous, yet also often empowering, experience and position of widows within society, Widowhood and Visual Culture in Early Modern Europe is the first book to consider the distinct and important relationship between ritual and representation. The fifteen new interdisciplinary essays assembled here read widowhood as a catalyst for the production of a significant body of visual material-representations of, for and by widows, whether through traditional media, such as painting, sculpture and architecture, or through the so-called 'minor arts,' including popular print culture, medals, religious and secular furnishings and ornament, costume and gift objects, in early modern Austria, England, France, Germany, Italy and Spain. Arranged thematically, this unique collection allows the reader to recognize and appreciate the complexity and contradiction, iconicity and mutability, and timelessness and timeliness of widowhood and representation.

Marie Laurencin, in spite of the noticeable reputation she made in Paris in the first half of the twentieth century, has attracted only sporadic attention by late-twentieth century art historians. Until now the substance of her art and the feminist issues that were entangled in her life have been narrowly examined or reduced by an author's chosen theoretical format; and the terms of her lesbian identity have been overlooked. In this case study of une femme inadaptee and an unfit feminist, Elizabeth Kahn re-situates Laurencin in the on-going feminist debates that enrich the disciplines of art history, women's studies and literary criticism. Kahn's thorough reading of the artist's visual and literary production ensures a comprehensive overview which addresses notable works and passages but also integrates those that are less well known. Incorporating feminist theory and building on the work of contemporary feminist art historians, she avoids the heroics of conventional biography, instead allowing her subject to participate in the historical collective of women's work. Provocative and engagingly written, this fresh new study of Marie Laurencin's life and works also explores the multiple valences by which to connect the histories of, and find new connections between, women artists across the twentieth century.

The working women of Victorian and Edwardian Britain were fascinating but difficult subjects for artists, photographers, and illustrators. The cultural meanings of labour sat uncomfortably with conventional ideologies of femininity, and working women unsettled the boundaries between gender and class, selfhood and otherness. From paintings of servants in middle-class households, to exhibits of flower-makers on display for a shilling, the visual culture of women's labour offered a complex web of interior fantasy and exterior reality. The picture would become more challenging still when working women themselves began to use visual spectacle. In this first in-depth exploration of the representation of British working women, Kristina Huneault explores the rich meanings of female employment during a period of labour unrest, demands for women's enfranchisement, and mounting calls for social justice. In the course of her study she questions the investments of desire and the claims to power that reside in visual artifacts, drawing significant conclusions about the relationship between art and identity.

Mere decades after the dissolution of Yugoslavia, the promise of European democracy seems to be out of joint. What has become of the once-shared memory of victory over fascism? Historical revisionism and nationalist propaganda in the post-Yugoslav context have tried to eradicate the legacy of partisan and socialist struggles, while Yugonostalgia commodifies the partisan/socialist past. It is against these dominant 'archives' that this book launches the partisan counter-archive, highlighting the symbolic power of artistic works that echo and envision partisan legacy and rupture. It comprises a body of works that emerged either during the people's liberation struggle or in later socialist periods, tracing a counter-archival surplus and revolutionary remainder that invents alternative protocols of remembrance and commemoration. The book covers rich (counter-)archival material - from partisan poems, graphic works and photography, to monuments and films - and ends by describing the recent revisionist un-doing of the partisan past. It contributes to the Yugoslav politico-aesthetical "history of the oppressed" as an alternative journey to the partisan past that retrieves revolutionary resources from the past for the present.

A celebration of a unique culture and its experience of design, Responding to Chaos offers a timely examination of Japanese design at the start of a new century. The country's economic boom of the 1980s produced a surge of interest in land and building, and consequently in design in all its forms. From restaurant interiors to products, from private housing to recreational spaces, design received an unprecedented degree of attention. However the bursting in the early 1990s of this so-called 'bubble' economy has prompted a re-examination of design and its role in urban society.

The unexpected encounter of a rubber glove, a green ball and the head from the classical statue of the Apollo Belvedere gives rise to one of the most compelling paintings in the history of modernist art: Giorgio de Chirico's "The Song of Love" (1914). De Chirico made his career in Paris in the years before World War I, combining his nostalgia for ancient Mediterranean culture with his fascination for the curios found in Parisian shop windows. Beloved by the Surrealists, this uncanny image exemplifies de Chirico's radical "metaphysical" painting, which creates a disturbing sense of unreality, outside logical space and time, through the novel depiction of ordinary things. Emily Braun's essay explores the sources behind the work's enigmatic motifs, its influence on avant-garde painters and poets, and its continuing ability to captivate viewers as de Chirico intended, even a century after it was made.

Hot Art, Cold War - Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural, and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War - Southern and Eastern European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism. This book, together with its companion volume Hot Art, Cold War - Southern and Eastern European Writing on American Art 1945-1990,, is a joint initiative of the Terra Foundation for American Art and the editors of the journal Art in Translation at the University of Edinburgh. The journal, launched in 2009, publishes English-language translations of the most significant texts on art and visual cultures presently only available only in their source language. It is committed to widening the perspectives of art history, making it more pluralist in terms of its authors, viewpoints, and subject matter.

Jessica Lack introduces fifty pioneering modern and contemporary art movements born out of political engagement, decolonization, marginalization or conflict. These movements have aimed to revitalize society by challenging the status quo. While not as well known as Pop Art, Dada and Futurism, these associations of artists - such as the Saqqakhaneh artists of Iran, the Stridentists of Mexico, Jikken Kobo of Japan or America's AfriCobra - have empowered and given voice to their members. Global Art brings unfamiliar material to life by exploring the unique historical context for each art movement, key cultural events and interconnections, and the key protagonists in the movement's evolution.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yves-Alain Bois, and Theirry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollack, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

This innovative volume provides an illuminating guide to painting, photography, sculpture, pottery, printmaking and performance art by some of the most celebrated Native American and Canadian First Nation artists of our time. The book brings together distinguished scholars, critics, curators and Native artists, including Lucy R. Lippard, Gerald R. McMaster and Kay Walking Stick to explore the multiple meanings of Native American art.
The contributors argue for Native American art's place in modern art history, but also trace Native artists' continuing resistance to dominant orthodoxies of the art market and art history. The artist contributors, who represent several Native nations, including Cherokee, Lakota and Plains Cree, emphasize the importance of traditional stories, myths and ceremonies in contemporary art, and show how their art is linked to struggles over land, sovereignty and self-determination.

In 1939, Scottish artist and sculptor J.D. Fergusson was commissioned to write a fully illustrated book on modern Scottish painting. The Second World War made this difficult and the first edition of Modern Scottish Painting was published in 1943 without illustrations. This new edition – edited, introduced and annotated by Alexander Moffat and Alan Riach – finally brings Fergusson’s project to fruition, illustrating the argument with colour reproductions of Fergusson’s own work. Moffat and Riach frame Fergusson’s important art manifesto for the 21st-century reader, illuminating his views on modern art as he explores questions of technique, education, form and what it means for a painting to be truly modern. Fergusson relates these aspects of modern painting to Scottishness, showing what they mean for Scottish identity, nationalism, independence and the legacy that puritanical Calvinism has left on Scottish art – a particular concern for Fergusson given his recurring subject matter of the female nude.

Through the selection of eleven master designers, Jerry Kelly illustrates a wide range of styles: from classically inspired design and historical revival, to novel and modern layouts. Throughout the twentieth century, modern design theories in combination with newer printing technologies offered book designers far more options than were previously available to them. Utilizing these resources, some skillful artisans produced stunning designs in period style, arranging modern re-cuttings of early type designs with historical decoration that resulted in the creation of truly beautiful books; while others preferred a more contemporary aesthetic, building upon earlier principles in a fresh, novel manner. Through the selection of eleven master designers, Jerry Kelly illustrates a wide range of styles: from classically inspired design and historical revival, tonovel and modern layouts. He describes the care with which each designer combined typographic elements in their own unique way. The selection of these designers, ranging from Updike to Zapf, is only a small sampling of the practitioners that the twentieth century produced, but they are indicative of the wide range of book design styles achieved during this exceptionally dynamic century. JERRY KELLY is an award winning designer, calligrapher and printer working in New York City.

This project is the first to bring together such a wide range of local writers and perspectives. Project initiator and director Gavin Jantjes is a South African artist currently based at Norway's National Museum. Pallo Jordan, former Minister of Arts and Culture, supported the idea with seed funding to commission and develop the manuscript. Jantjes, together with editor-in-chief, Mario Pissarra of Africa South Arts Initiative (ASAI), commissioned and oversaw the exciting process of writing the book.

Revealing an alternative story of modern Scottish art, A New Era examines the most experimental work of Scottish artists during the first half of the 20th century. It challenges the accepted view of the dominance of the Scottish Colourists and uncovers the hitherto little-known progressive Scottish art world. Through these works, we can see the commitment of Scottish artists to the progress of art through their engagement and interpretation of the great movements of European modern art, from Fauvism and Expressionism, to Cubism, Art Deco, abstraction and Surrealism, among others. Looking at the most advanced work of high-profile artists such as William Gillies and Stanley Cursiter, and lesser-known talents, like Tom Pow and Edwin G. Lucas, A New Era takes its name from the group established in Edinburgh in 1939 to show surreal and abstract work by its members.

Art is produced, circulated, consumed and disseminated within an economic system - it depends on money for its creation, for the livelihood of its makers, and for its distribution. In this sense, art can be understood as an enterprising activity. However, profit-making is rarely the primary goal of artists, and indeed the entanglement of art with enterprise generates significant aesthetic, conceptual, philosophical and ethical challenges for contemporary art practice. Social enterprise has emerged from this complex terrain with the promise of an alternative model of economic organisation in the arts. Grace McQuilten and Anthony White argue that artists can, and have, engaged critically in the commercial market, by way of this model. Art as Enterprise brings a fresh perspective to the debate about the roles of contemporary art in consumer capitalist society.

The first comprehensive study of the life and work of C.R.W. Nevinson, an important painter and writer whose name has re-emerged to take its rightful place among the established icons of art and literature in early twentieth-century England. Previous accounts remember Nevinson as a Futurist and war painter, but in recent years academic interest has grown in his role in the inter-war period and the Second World War, and with it, the need for a full study of his life and works. Painter, social commentator, novelist and society host, Nevinson can now be remembered as a prominent and distinguished artist of his generation. In this interdisciplinary work, Walsh presents a thorough analysis of Nevinsonis artistic achievements, explaining his relationships with contemporaries like Wyndham Lewis, Roger Fry, Amadeo Modigliani, H.G. Wells and George Bernard Shaw. This book gives the reader a wider understanding of the changing cultural landscape of Britain between 1889 and 1946 and introduces the figure of C.R.W. Nevinson in context, providing an objective and captivating account of his explosive and multi-layered personality. Michael J.K. Walsh is Chair of the Department of Archaeology and Art History at the Eastern Mediterranean University in Famagusta. He is the author of 'C.R.W. Nevinson: This Cult of Violence' and editor of 'A Dilemma of English Modernism' and the forthcoming 'Avant Garde and Avant Guerre: London, Modernism and 1914'.

Naval aviation special markings and nose art is a field that has been largely ignored, primarily due to the lack of coverage in mainstream aviation history publications. Research into archives, feedback from veterans, and personal photographs by the authors, Jim Meehan and William Tate, have documented thousands of previously unknown individual aircraft with these markings. Paint Locker Magic: A History of Naval Aviation Special Markings and Artwork covers markings on US Navy, Marine Corps and Coast Guard aircraft over the 100 year history of US naval aviation. This fascinating and visually resplendent book includes illustrations of special markings and nose art on early canvas-covered airplanes through the World War 2 era when nose art flourished and on into the jet age, the Korean and Vietnam conflicts, and up to the present war on terror with aircraft marked to commemorate the 9-11 terrorist attacks. This coverage includes fighters and attack aircraft of the carrier navy and the patrol aircraft, transports blimps, research and test aircraft and helicopters. Markings include personal nose art and pinups, shark mouth and similar markings, cartoons depicting special missions, Christmas and similar markings and tributes.

Explore the creative minds of artists up and down the American West Coast, enjoying paintings and mixed-media art that runs the stylistic gamut from abstract to landscape. A mix of emerging, mid-career, and established artists makes this a valuable tool for galleries and collectors. The broad range of artists creates a wonderful experience, with multiple exhibitions all within two covers. Sit back and enjoy the show, meeting each artist as they share, in their own words, the thoughts and feelings expressed in their work. Each of over 400 full color photographs is sure to delight your eyes and imagination. This book is for all who want to educate themselves about contemporary art and artists, whether they are collectors, frequent museum and gallery visitors, or merely curious.

This is the first book to present a comprehensive overview of the entire career of British artist Richard Eurich (1903-1992), a figurative painter of compelling power and often visionary intensity who brought rare imaginative reserves to his depiction of the world around him, as well as to his apprehension of the mysterious and unseen. Eurich was a private man, not much given to self-promotion, and as such has not received the widespread attention he deserves. The Art of Richard Eurich locates the artist within the context of 20th-century British art, demonstrating his relevance in all quarters of the art world of the period. Eurich was draughtsman, landscape painter, teacher, War Artist, autobiographer, marine painter extraordinaire, portrait painter, figure painter, satirist, genre painter, visual poet of the beach, and occasional sculptor. His many creative talents are brought together in a compelling analysis of how these various parts refer to each other and to the man who was responsible for them. Featuring a wide selection of his artworks, from the topographical to the visionary, from the drawn to the painted, this book unspools the narrative of Eurich's life through expertly chosen examples of his paintings and drawings and places him in relation to his fellow-artists, friends and contemporaries.

Part of the 'Phaidon Focus' series, this it the perfect introduction to the life and art of Joseph Beuys.

A groundbreaking insight into Gustave Courbet and his bold experiments in landscape painting Between 1862 and 1866 Gustave Courbet embarked on a series of sensuous landscape paintings that would later inspire the likes of Monet, Pissarro, and Cezanne. This series has long been neglected in favor of Courbet's paintings of rural French life. Courbet's Landscapes: The Origins of Modern Painting explores these astonishing paintings, staking a claim for their importance to Courbet's work and later developments in French modernism. Ranging from the grottoes of Courbet's native Franche-Comte to the beaches of Normandy, Paul Galvez follows the artist on his travels as he uses a palette-knife to transform the Romantic landscape of voyage into a direct, visceral confrontation with the material world. The Courbet he discovers is not the celebrated history painter of provincial life, but a committed landscapist whose view of nature aligns him with contemporary developments in geology, history, linguistics, and literature.