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

The conflict between National Socialism and Ernst Barlach, one of the important sculptors of the twentieth century, is an unusual episode in the history of Hitler's efforts to rid Germany of 'international modernism.' Barlach did not passively accept the destruction of his sculptures, but protested the injustice, and continued his work. Peter Paret's discussion of Barlach's art and struggle over creative freedom, is joined to an analysis of Barlach's opponents. Hitler's rejection of modernism, often dismissed as absurd ranting, is instead interpreted as a internally consistent and politically effective critique of liberal Western culture. That some radical national socialists nevertheless advocated a 'nordic modernism' and tried to win Barlach over, indicates the cultural cross-currents running through the early years of the Third Reich. Paret's closely focused study of an artist in a time of crisis seamlessly combines the history of modern Germany and the history of modern art. Peter Paret is Mellon Professor in the Humanities Emeritus of the Institute for Advanced Study in Princeton and Spruance Professor Emeritus at Stanford University. He is a member of the American Philosophical Society, which awarded him the Thomas Jefferson Medal and a Fellow of the American Academy of Arts and Sciences. The German government has awarded him the Officer's Cross of the Order of Merit. His other works include, German Encounters with Modernism, 1840-1945 (Cambridge, 2001), Imagined Battles: Reflections of War in European Art (Univ, of NC, 1997), The Berlin Secession: Modernism and its Enemies in Imperial Germany (Harvard, 1989), and Clausewitz and the State (Oxford, 1985).

The collections of twentieth-century paintings in the Ashmolean Museum, Oxford, have developed largely through the generosity of individuals. Notable among these in the early decades of the century were Frank Hindley Smith and Mrs W F R Weldon, while since the Second World War the Museum's collections have been enriched through gifts and requests from Thomas Balston, R A P Bevan, Molly Freeman, Christopher Hewett and others. This book gives the reader a taste of the wide range of the collection, with its representative group of Camden Town and Euston Road School pictures, and important early works by Bonnard, Picasso and Matisse.

For more than half a century, Austin artist Don Collins crisscrossed Texas looking for traces of the past. Most often he has found them in a variety of old buildings. Drawings of these places, thirteen a year, appeared for three decades in popular calendars issued in Austin by the Miller Blueprint Company. The publications themselves have become collectors' items.In order to prepare his annual calendars, Don frequented less-traveled byways and often forgotten places. When he discovered that he had begun retracing his routes, he bought a stack of Texas county road maps. The artist marked the courses that he had taken so that he would be sure to see new country on each subsequent foray: ""I would seek out roads that followed the path of least resistance, often up a creek. I would follow them and usually find an old structure."" In time he expanded his geographical range to more distant areas of the state: ""I wanted to go there and see what it's like.""In this book, Collins has chosen seventy from more than three hundred works of art that he created for the Miller Blueprint calendars. The carefully detailed renderings record buildings from farmhouses to industrial plants, from shanties to mansions. Through these pages viewers tour the state both visually and through the artist's own recollections about the remarkable range of places he has recorded with pencil and paper.

Henri Matisse, Pablo Picasso, Joan Miro and Andy Warhol each significantly shaped the development of art in the twentieth century. These Modern masters are the subjects of four small books, the first volumes in a series featuring important artists in the collection of The Museum of Modern Art. Each book presents a single artist and guides readers through a dozen of his most memorable achievements. Works are reproduced in color and accompanied by informative and accessible short essays that provide background on the artworks and on the artist himself, illuminating technique, style, subject matter and significance. Written by Carolyn Lanchner, former curator of painting and sculpture at the Museum, these books are excellent resources for readers interested in the stories behind masterpieces of the Modern canon and for those who wish to understand the contributions of individual artists to the history of Modern art. This volume focuses on Matisse.

One of the most prolific and successful artists of the Golden Age of American Illustration, J. C. Leyendecker captivated audiences throughout the first half of the 20th century. Leyendecker is best known for his creation of the archetype of the fashionable American male with his advertisements for Arrow Collar. These images sold to an eager public the idea of a glamorous lifestyle, the bedrock upon which modern advertising was built. He also was the creator instantly recognizable icons, such as the New Year's baby and Santa Claus, that are to this day an integral part of the lexicon of Americana and was commissioned to paint more "Saturday Evening Post" covers than any other artist. Leyendecker lived for most of his adult life with Charles Beach, the Arrow Collar Man, on whom the stylish men in his artwork were modeled. The first book about the artist in more than 30 years, "J. C. Leyendecker" features his masterworks, rare paintings, studies, and other artwork, including the 322 covers he did for the "Post. "With a revealing text that delves into both his artistic evolution and personal life, "J. C. Leyendecker" restores this iconic image maker's rightful position in the pantheon of great American artists.

The life of an extraordinary artist and intellect: the composer, author and socialite Alma Mahler, whose life spanned one of the most captivating and dramatic periods in history Alma Mahler was once at the epicentre of Vienna's artistic and intellectual life. A talented composer in her own right, she was open, generous, remarkably creative, curious, challenging and zealous in her pursuit of love. Artists, architects, musicians and writers jostled to join her coterie. Gustav Klimt was her first kiss; Gustav Mahler her first husband. But her life was haunted by tragedy, and the support and inspiration that Alma gave to the men she loved came at the heavy price of her own artistic fulfilment. Drawing extensively on previously unpublished diaries and letters, Cate Haste illuminates the passionate spirit of one of history's most complex and charismatic muses, a modern woman with an elemental vitality that could scarcely be contained by her century - who will live forever in the art she created and inspired.

This book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.

This book is first to historicise and theorise the significance of the early twentieth-century little art colony as a uniquely modern social formation within a global network of modernist activity and production. Alongside a historical overview of the emergence of three critical sites of modernist activity the little art colonies of Carmel, Provincetown and Taos the book offers new critical readings of major authors associated with those places: Robinson Jeffers, Eugene O'Neill and D. H. Lawrence. Geneva M. Gano tracks the radical thought and aesthetic innovation that emerged from these villages, revealing a surprisingly dynamic circulation of persons, objects and ideas between the country and the city and producing modernisms that were cosmopolitan in character yet also site-specific.

The majesty of Earth's most magnificent features was the domain of Wilson Hurley (1924-2008). In paintings of natural wonders throughout the galaxy, he was committed to expressing his love of the richness of reality. His journey to become a revered twentieth-century American landscapist is brought to life in this intimate biography. Written for appreciators, collectors, and working artists, Hurley's goals and procedures - from thumbnails to plein air field studies and finished studio paintings - are elucidated in depth, including a commission that resulted in five monumental triptychs of our nation's most prized vistas installed at the National Cowboy and Western Heritage Museum.

In an age of 'ethnic cleansing' and forced migration, of contested borders and nations in turmoil, how have issues of place and identity, and of belonging and exclusion, been represented in visual culture? In Terra Infirma, Irit Rogoff examines geography's truth claims and signifying practices, arguing that geography is a language in crisis, unable to represent the immense changes that have taken place in a post-colonial, post-communist, post-migratory world. She uses the work of international contemporary artists to explore how art in the twentieth century has confronted and challenged issues of identity and belonging.
Rogoff's dazzling and richly-illustrated study takes in painting, installation art, film and video by a wide range of artists including Charlotte Salomon, Ana Mendieta, Joshua Neustein, Yehoshua Glotman, Mona Hatoum, Hans Haacke, Ashley Bickerton, Alfredo Jaar and Guillermo Gomez-Pena. Structuring her argument through themes of luggage, mapping, borders and bodies, Rogoff explores how artists have confronted twentieth century phenomena such as the horror of the Holocaust, the experience of diaspora at New York's Ellis Island, and, in the present day, disputed and fraught boundaries in the Middle East, the two Germanies, the Balkan states and the US-Mexican border.

Franklin Furnace is a renowned New York-based arts""organization whose mission is to preserve, document, and present works of avant-garde art by emerging artists--particularly those whose works may be vulnerable due to institutional neglect or politically unpopular content. Over more than thirty years, Franklin Furnace has exhibited works by hundreds of avant-garde artists, some of whom--Laurie Anderson, Vito Acconci, Karen Finley, Guillermo G"omez""-"Pena, Jenny Holzer, and the Blue Man Group, to name a few--are now established names in contemporary art.

Here, for the first time, is a comprehensive history of this remarkable organization from its conception to the present. Organized around the major art genres that emerged in the second half of the twentieth century, this book intersperses first-person narratives with readings by artists and scholars on issues critical to the organization's success as well as Franklin Furnace's many contributions to avant-garde art.

Design, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasizes schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history. Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design, the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and they also ponder the design of time itself. Showcasing the work of 15 design scholars from a range of international contexts, this book provides an essential text for thinking about changing attitudes to the temporal.

American artist Louis Comfort Tiffany is most famous for his revolutionary and widely popular glass windows, lamps, and vases, but his contributions to late nineteenth- and early twentieth-century art and design were so much more. Tiffany was also a painter, photographer, interior decorator, and designer of ceramics, enamels, and jewelry. This book presents more than 200 of the artist's works from the renowned Tiffany collection of The Charles Hosmer Morse Museum of American Art in chronological sequence, providing a biographical view of the man behind the famous glass.

"I love this book! Brilliant biography of the...utterly fascinating artist Isabel Rawsthorne" Jennifer Higgie "Every page is gripping, fascinating, forcefully and excitingly written, and sad." Andrew Motion "Isabel Rawsthorne's life reads like a ready-made screenplay... - a poverty stricken upbringing, world wars, espionage, affairs, addiction, politics ... all set to a series of evocative cinematic backdrops. And that's before any mention of her career as one of the most hidden but influential artists of the 20th century." Interiors and Home "Jacobi's bigger project here, seems to be to reimagine what an artist biography... can be." The Art Newspaper "Highlights how talented women have often missed out on the recognition they deserved" Observer Isabel Rawsthorne's painting career at the centre of the Parisian and London avantgardes was eclipsed by the many occasions on which her friends made her the subject of their art, notably Epstein, Derain, Giacometti, Picasso and Bacon. This pioneering painter exhibited from the early 1930s, was influential in the 1940s and well known in the 1960s, but in her later years Giacometti's and Bacon's blockbuster biographies made her famous as a muse. Rawsthorne's work is now in major collections, and this beautifully illustrated book re-writes the pre- and post-war art history of which she was a part: it is traced through the upheavals of the 20th century and her singular relationships with some of its most fascinating figures. A decade of research into the period, Rawsthorne's art and archives, and the memories of friends, has revealed for the first time her role in a rebel group at Liverpool School of Art; success and tragedy in the 1930s when she was studio assistant to Jacob Epstein; her life-long collaborations with Alberto Giacometti; and, after the war, with Francis Bacon and with African Modernism in the 1960s, as well as her exceptional late work. It also tells the full story of her break from art during the second world war, when she worked for the government in black propaganda.

This edited volume examines the history of abstract art across Latin America after 1945. This form of art grew in popularity across the Americas in the postwar period, often serving to affirm a sense of being modern and the right of Latin America to assume the leading role Europe had played before World War II. Latin American artists practiced gestural and geometric abstraction, though the history of art has favored the latter. Recent scholarship, for instance, has focused on geometric abstraction from Argentina, Brazil, and Venezuela. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America and the Andes, investigatinghow this style came to stand in for Latin American contemporary art.

This is the fascinating autobiography of a society heiress who became the bohemian doyenne of the art world. Written in her own words it is the frank and outspoken story of her life and loves: her stormy relationships with such men as Max Ernst and Jackson Pollock, and her discovery of new artists. Known as 'the mistress of modern art', Peggy Guggenheim was a passionate collector and major patron. She amassed one of the most important collections of early twentieth-century European and American art embracing Cubism, Surrealism and Expressionism. A must-read for anyone with an interest in these major-league artists, this seminal period of art history, and the ultimate self-invented woman. Includes a foreword by Gore Vidal.

Honorable Mention, Latin American Studies Association Mexico Section Best Book in the HumanitiesA Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico's postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance-the emulation of Diaghilev's Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortola Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico's theatrical dance world, including Diego Rivera's collaborations with ballet composer Carlos Chavez; Carlos Merida's leadership of the National School of Dance; Jose Clemente Orozco's involvement in the creation of the Ballet de la Ciudad de Mexico; and Miguel Covarrubias, who led the "golden age" of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.

With the words 'A new manifestation of art was ... expected, necessary, inevitable,' Jean Moreas announced the advent of the Symbolist movement in 1886. When Symbolist artists began experimenting in order to invent new visual languages appropriate for representing modern life in all its complexity, they set the stage for innovation in twentieth-century art. Rejecting what they perceived as the superficial descriptive quality of Impressionism, Naturalism, and Realism, Symbolist artists delved beneath the surface to express feelings, ideas, scientific processes, and universal truths. By privileging intangible concepts over perceived realities and by asserting their creative autonomy, Symbolist artists broke with the past and paved the way for the heterogeneity and penchant for risk-taking that characterizes modern art. The essays collected here, which consider artists from France to Russia and Finland to Greece, argue persuasively that Symbolist approaches to content, form, and subject helped to shape twentieth-century Modernism. Well-known figures such as Kandinsky, Khnopff, Matisse, and Munch are considered alongside lesser-known artists such as Fini, Gyzis, Koen, and Vrubel in order to demonstrate that Symbolist art did not constitute an isolated moment of wild experimentation, but rather an inspirational point of departure for twentieth-century developments.

An illustrated biography of the celebrated artist James Ensor The Belgian artist James Ensor (1860-1949) was a major figure in the Belgian avant-garde of the late 19th century and an important precursor to the development of Expressionism in the early 20th century. Daring and socially engaged, Ensor included political, religious, historical, and autobiographical themes in his works. He is known for brightly colored depictions of masked skeletons, seascapes, and carnivals, which frequently tend toward the macabre or grotesque. Structured like a biography, this book explores Ensor's life and art year by year. Chapters are illustrated with Ensor's masterpieces as well as archival photographs and previously unpublished letters.

The Fitzwilliam Museum, University of Cambridge, holds stunning examples of jewellery and metalwork from the late nineteenth and early twentieth centuries. This exceptional period of design covers the neo-Gothic and historicist designs of the mid- to late nineteenth century, the groundbreaking work of British Arts & Crafts designers, sinuous curves influenced by the European Art Nouveau movement and the structural modernity of the 1930s. The collection contains jewellery by some of the finest historicist designers, including the Castellani and Giuliano families and John Brogden, as well as a spectacular decanter by William Burges. There are important pieces of jewellery and silver by the most famous of Arts & Crafts designers, including C.R. Ashbee, Henry Wilson, Gilbert Marks and John Paul Cooper. Unique pieces designed by the artist Charles Ricketts hold a special place in the history of queer art in Britain, having been designed for his friends Katherine Bradley and Edith Cooper, a couple known collectively as Michael Field. Modernist silver is represented by leaders of the field Omar Ramsden and H.G. Murphy. This beautifully illustrated volume reproduces 70 of the Museum's most important pieces from this period, many previously unpublished, with comparative illustrations of some of the original designs. Importantly, the book is arranged chronologically by designer and includes biographies, a description of their work and how it changed over time, as well as commentary about the specific works in the Museum's collection. The resulting book therefore brings together for the first time the Fitzwilliam's exceptionally fine holdings of jewellery and metalwork from this highly popular and fruitful period of design.