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.

The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts. Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.

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 thought-provoking volume on Edvard Munch’s often neglected pictures of nature, exploring the Norwegian artist’s landscapes, seascapes, and existential environments in light of his own time and ours This richly illustrated catalogue provides a multifaceted perspective on the pictures of nature and landscape by Norwegian artist Edvard Munch (1863–1944). This important topic has been neglected in scholarship on Munch, despite the fact that it is a major motif in his oeuvre. This volume is the first to explore the theme in its full breadth throughout Munch’s corpus, including his paintings, lithographs, watercolors, and woodcuts. His depictions of forests, farmland, and the seashore, as well as paintings of sea storms, snow, and other extreme weather, present us with undulating forms that animate nature. They likewise provide an example of Munch’s preference for liminal spaces where transformations take place, often celebrating human interaction with nature in its many manifestations. The book also considers Munch’s less conventional landscapes, and particularly those where his famous Scream motif occurs. These environments depict nature in an existential way, suggesting that the artist held a deep concern for nature’s destruction by humans—a concern no less relevant today. A complementary look at his writings as primary sources alongside his images shows how Munch mixed a scientific perspective on nature with metaphysical and spiritual notions of rebirth that permeate other parts of his corpus. The book also includes a engaging short story by award-winning author Ali Smith that was inspired by Munch's work. Distributed for MUNCH  Exhibition Schedule: Clark Art Institute, Williamstown, MA (June 10–October 15, 2023) Museum Barberini, Potsdam (November 18, 2023–April 1, 2024) Munch Museum, Oslo (April 27–August 24, 2024)

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

The Living Death of Antiquity examines the idealization of an antiquity that exhibits, in the words of Johann Joachim Winckelmann, 'a noble simplicity and quiet grandeur'. Fitzgerald discusses the aesthetics of this strain of neoclassicism as manifested in a range of work in different media and periods, focusing on the late eighteenth and early nineteenth centuries. In the aftermath of Winckelmann's writing, John Flaxman's engraved scenes from the Iliad and the sculptors Antonio Canova and Bertel Thorvaldsen reinterpreted ancient prototypes or invented new ones. Earlier and later versions of this aesthetic in the ancient Greek Anacreontea, the French Parnassian poets and Erik Satie's Socrate, manifest its character in different media and periods. Looking with a sympathetic eye on the original aspirations of the neoclassical aesthetic and its forward-looking potential, Fitzgerald describes how it can tip over into the vacancy or kitsch through which a 'remaindered' antiquity lingers in our minds and environments. This book asks how the neoclassical value of simplicity serves to conjure up an epiphanic antiquity, and how whiteness, in both its literal and its metaphorical forms, acts as the 'logo' of neoclassical antiquity, and functions aesthetically in a variety of media. In the context of the waning of a neoclassically idealized antiquity, Fitzgerald describes the new contents produced by its asymptotic approach to meaninglessness, and how the antiquity that it imagined both is and is not with us.

Ellen Sapega's study documents artistic responses to images of the Portuguese nation promoted by Portugal's Office of State Propaganda under Antonio de Oliveira Salazar. Combining archival research with current theories informing the areas of memory studies, visual culture, women's autobiography, and postcolonial studies, the author follows the trajectory of three well-known cultural figures working in Portugal and its colonies during the 1930s and 1940s.

The book begins with an analysis of official Salazarist culture as manifested in two state-sponsored commemorative events: the 1938 contest to discover the "Most Portuguese Village in Portugal" and the 1940 Exposition of the Portuguese-Speaking World. While these events fulfilled their role as state propaganda, presenting a patriotic and unambiguous view of Portugal's past and present, other cultural projects of the day pointed to contradictions inherent in the nation's social fabric. In their responses to the challenging conditions faced by writers and artists during this period and the government's relentless promotion of an increasingly conservative and traditionalist image of Portugal, Jose de Almada Negreiros, Irene Lisboa, and Baltasar Lopes subtly proposed revisions and alternatives to official views of Portuguese experience.

These authors questioned and rewrote the metaphors of collective Portuguese and Lusophone identity employed by the ideologues of Salazar's Estado Novo regime to ensure and administer the consent of the national populace. It is evident, today, that their efforts resulted in the creation of vital, enduring texts and cultural artifacts.

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Eric Ravilious (1903-1942) is now firmly one of the most popular artists of his period. Eric Ravilious: Imagined Realities includes illustrations of many previously unpublished paintings, including a number from private collections, as well as surveying his other artistic activities. The text draws on many letters and other documents, again previously unpublished, and is the most comprehensive account of Ravilious' career ever published. It also attempts to position the artist in relation to the English art of his time, and more recent critical and cultural issues.

In Japanese life and culture, there has never been a clear distinction between art, craft and design. Generations of artisans have for centuries forged and refined their crafts, which have become the envy of the modern world. Regions of Japan are renowned for specific traditions, many of which are born of local materials and the natural settings in which they are produced. Visitors and craft and design enthusiasts have long known about the high quality of craftsmanship and the unique quality of these makers and the objects they create, though few are taken outside the country. Spurred by an awareness of the unseen treasures produced by these craftspeople, designer-authors Uwe Roettgen and Katharina Zettl set out across the country to find the finest examples, to document the makers and their workshops and the rural landscapes that surround them. The result is a breathtaking odyssey into the heart of Japanese culture. The authors portray twentyfive artisans, who work with natural materials to produce objects that are intended for everyday life but are worthy of museum display. Photographs and texts, drawn from close collaboration with each maker or studio, depict ancient techniques that continue to flourish, however much the world around them has changed. Craftland Japan is not merely a book about Japanese crafts: it is a glimpse into centuries of tradition and wisdom through the prism of contemporary makers. It celebrates the union of craft, design, materiality and landscape in a manner that most cultures can only hope to emulate.

American artist Nancy Spero (b.1929) concentrates on the depiction of women: mythological women, movie women, tortured women. Inspired by classical and modern sources, she collages and imprints her contemporary goddesses on to long, papyrus-like friezes that scroll around museum walls. Her subject matter, which has ranged from the writings of Artaud to the Vietnam War, mirrors her life. Working in Paris in the cultural ferment of the 1960s, she moved to New York in the 1970s to co-establish the feminist gallery A.I.R. and to join with artists and critics such as Leon Golub, Robert Morris and Lucy R Lippard in forming the Art Workers' Coalition. Since the 1980s she has attracted international acclaim, her exquisite works giving form to feminist issues and new critical discourses. The Survey by Jon Bird, cultural theorist and curator of the first British retrospective of Spero's work, discusses developments in her practice since the 1950s. Contemporary art scholar and critic Jo Anna Isaak talks with the artist about her life and work. Art historian Sylvere Lotringer, Edtior of Semiotext(e) and author of Overexposed, focuses on her 1993 installation at the Whitney Museum of American Art. In recognition of the impact Stanley Kubrick's Dr Strangelove made on her, Spero has chosen a scene from the screenplay; key excerpts from Gynesis: Configurations of Woman and Modernity by feminist theorist Alice Jardine on the place of women in a patriarchal culture complete the Artist's Choice section. Also included are a selection of Spero's own writings, many published here for the first time.

Public space is political space. When a work of public art is put up or taken down, it is an inherently political statement, and the work's aesthetics are inextricably entwined with its political valences. Democracy's openness allows public art to explore its values critically and to suggest new ones. However, it also facilitates artworks that can surreptitiously or fortuitously undermine democratic values. Today, as bigotry and authoritarianism are on the rise and democratic movements seek to combat them, as Confederate monuments fall and sculptures celebrating diversity rise, the struggle over the values enshrined in the public arena has taken on a new urgency. In this book, Fred Evans develops philosophical and political criteria for assessing how public art can respond to the fragility of democracy. He calls for considering such artworks as acts of citizenship, pointing to their capacity to resist autocratic tendencies and reveal new dimensions of democratic society. Through close considerations of Chicago's Millennium Park and New York's National September 11 Memorial, Evans shows how a wide range of artworks participate in democratic dialogues. A nuanced consideration of contemporary art, aesthetics, and political theory, this book is a timely and rigorous elucidation of how thoughtful public art can contribute to the flourishing of a democratic way of life.

Modern matters: A blow-by-blow account of groundbreaking modernismMost art historians agree that the modern art adventure first developed in the 1860s in Paris. A circle of painters, whom we now know as Impressionists, began painting pictures with rapid, loose brushwork. They turned to everyday street life for subjects, instead of overblown heroic scenes, and they escaped the power of the Salon by organizing their own independent exhibitions.After this first assault on the artistic establishment, there was no holding back. In a constant desire to challenge, innovate, and inspire, one modernist style supplanted the next: Symbolism, Expressionism, Futurism, Dada, Abstract Art, renewed Realism, Surrealism, Abstract Expressionism, Pop, Minimal and conceptual practice.This indispensable overview traces the restless energy of modern art with a year-by-year succession of the groundbreaking artworks that shook standards, and broke down barriers. Introductory essays outline the most significant and influential movements alongside explanatory texts for each major work and its artist.About the series: Bibliotheca Universalis Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!Since we started our work as cultural archaeologists in 1980, the name TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together nearly 100 of our all-time favorite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.Bookworm s delight never bore, always excite!"

Loving: A Photographic History of Men in Love, 1850-1950 portrays the history of romantic love between men in hundreds of moving and tender vernacular photographs taken between the years 1850 and 1950. This visual narrative of astonishing sensitivity brings to light an until-now-unpublished collection of hundreds of snapshots, portraits, and group photos taken in the most varied of contexts, both private and public. Taken when male partnerships were often illegal, the photos here were found at flea markets, in shoe boxes, family archives, old suitcases, and later online and at auctions. The collection now includes photos from all over the world: Australia, Bulgaria, Canada, Croatia, France, Germany, Japan, Greece, Latvia, the United States, the United Kingdom, Russia, and Serbia. The subjects were identified as couples by that unmistakable look in the eyes of two people in love - impossible to manufacture or hide. They were also recognised by body language - evidence as subtle as one hand barely grazing another - and by inscriptions, often coded. Included here are ambrotypes, daguerreotypes, glass negatives, tin types, cabinet cards, photo postcards, photo strips, photomatics, and snapshots - over 100 years of social history and the development of photography. Loving will be produced to the highest standards in illustrated book publishing, The photographs - many fragile from age or handling - have been digitised using a technology derived from that used on surveillance satellites and available in only five places around the world. Paper and other materials are among the best available. And Loving will be manufactured at one of the world's elite printers. Loving, the book, will be up to the measure of its message in every way. In these delight-filled pages, couples in love tell their own story for the first time at a time when joy and hope - indeed human connectivity - are crucial lifelines to our better selves. Universal in reach and overwhelming in impact, Loving speaks to our spirit and resilience, our capacity for bliss, and our longing for the shared truths of love.

In February 1972 Henry Moore's sculpture studios in the English countryside at Much Hadham were filled with the preparations for his retrospective exhibition at Florence. In search of peace and quiet, he went into a smaller room overlooking the fields where a local farmer grazed his sheep. The sheep came very close to the window, attracting his attention, and he began to draw them. Initially he saw them as nothing more than four-legged balls of wool, but his vision changed as he explored what they were really like - the way they moved, the shape of their bodies under the fleece. They also developed strong human and biblical associations, and the sight of a ewe with her lamb evoked the mother-and-child theme - a large form sheltering a small one - which has been important to Henry Moore in all his work. He drew the sheep again that summer after they were shorn, when he could see the shapes of the bodies which had been covered by wool. Solid in form, sudden and vigorous in movement, Henry Moore's sheep are created through a network of swirling and zigzagging lines in the rapid and (in Moore's hands) sensitive medium of ballpoint pen. The effect is both familiar and monumental; as Lor

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.

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.

Enlightening Encounters traces the impact of photography on Italian literature from the medium's invention in 1839 to the present day. Investigating the ways in which Italian literature has responded to photographic practice and aesthetics, the contributors use a wide range of theoretical perspectives to examine a variety of canonical and non-canonical authors and a broad selection of literary genres, including fiction, autobiography, photo-texts, and migration literature. The first collection in English to focus on photography's reciprocal relationship to Italian literature, Enlightening Encounters represents an important resource for a number of fields, including Italian studies, literary studies, visual studies, and cultural studies.

Published to accompany the exhibition at the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, this catalogue examines the impact of Futurism and Cubism on British modernist printmaking from the beginning of World War I to the beginning of World War II. Imagery ranges from powerful artistic impressions of the first fully mechanized war, to radical geometric abstractions, to the colourful, streamlined jazz age images of speed, sport and diversion which the Grosvenor School artists created in order to introduce a broader public to modern art and design. Interest in this era is peaking among collectors, curators and art historians and this is an ideal moment to introduce these innovative British printmakers to a wider public.

This volume examines how the grotesque has shaped the history, practice, and theory of art in the nineteenth and twentieth centuries. The grotesque entered into the mainstream of modern expression during the romantic era. It has been adopted by a succession of artists as a way to push beyond established boundaries, to explore alternate modes of experience and expression, and to challenge the status quo. Examining specific images by a range of artists, such as Ingres, Gauguin, Hoech, de Kooning, Polke, and Mona Hatoum, the essays also encompass a variety of media, including medical illustration, paintings, prints, photography, multimedia installations, and film. This study brings into focus a range of subjects, styles and theoretical viewpoints that have traditionally been marginalized in the standard narratives on modernism. It demonstrates how the grotesque in modern art directly ties into current debates regarding the representation of race and gender, abjection and the other, globalization, and appropriation.

A design monograph series on the most remarkable architects, designers, brands and design movements of the twentieth and twenty-first centuries, each book contains a historical-critical essay discussing the life and work of the subject, followed by an illustrated appreciation of groundbreaking work. Charles and Ray Eames were the golden couple of postwar American design. True multimedia pioneers, they worked in furniture design, architecture, print, photography and filmmaking. They imbued the modern twentieth-century aesthetic with originality, colour and freshness, and their ability to mould plastics and plywood with an elegance not previously seen resulted in some of the most influential furniture design of the modern age – witnessed not just in the continuing popularity of their original designs but also in the mass prodcution of countless imitations.

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.