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Books > Arts & Architecture > History of art / art & design styles > From 1900 > General
Kenneth Paul Block is one of the most influential fashion
illustrators of the twentieth century. His childhood dream was "to
draw glamorous ladies in beautiful clothes". After graduating from
Parsons School of Design, his first job was at the powerful
"Women's Wear Daily" in the 1950s, an association that lasted over
thirty years and where Kenneth witnessed and recorded one of the
most important periods in fashion history - the postwar shift as
the exclusive world of couture transformed into pret-a-porter.
Attending all the major fashion shows in Paris, London, and New
York, Kenneth was the first one on the scene, drawing the latest
style-setting clothes from such venerable houses as Balenciaga,
Chanel, and Saint Laurent.He also documented the up and coming
designers of the time, including Marc Jacobs, Perry Ellis, and
Halston. He was well known in society, sketching Gloria Vanderbilt
and the Duchess of Windsor. He reported on sensational parties in
Palm Beach and New York attended by Babe Paley and Jackie Kennedy
Onassis and created a unique archive of the era. "Drawing Fashion:
The Art of Kenneth Paul Block" is the first monograph on the artist
and brings together a lifetime of drawings, watercolours, and
observations. Fashion illustration disappeared from publications as
photography took over, giving added emphasis to this book as an
important historical document. "Drawing Fashion", designed by
Shahid & Company, captures a critical moment in time when
fashion, art, and commerce coincided.
Shaping the Surface explores the history of modern British
architecture through the lens of surface, materiality and
decoration. Picking up on a trait that art historian Nikolaus
Pevsner first identified as a 'national mania for beautiful surface
quality', this book makes a new contribution to architectural
history and visual culture in its detailed examination of the
surfaces of British architecture from the middle of the 19th
century up to the turn of the 21st century. Tracing this continuing
sensibility to surface all the way through to the modern era, it
explores how and why surface and materiality have featured so
heavily in recent architectural tradition, examining the history of
British architecture through a selection of key cultural moments
and movements from Romanticism and the Arts and Crafts, to
Brutalism, High-Tech, Post-Modernism, Neo-Vernacular, and the New
Materiality. Embedded within the narrative is the question of
whether such national characters can exist in architecture at all -
and indeed the extent to which it is possible to identify a British
architectural consciousness in an architectural tradition
characterised by its continuous importation of theories, ideas,
materials and people from around the globe. Shaping the Surface
provides a deep critique and meditation on the importance of
surface and materiality for architects, designers, and historians
everywhere - in Britain and beyond - while it also serves as a
thematic introduction to modern British architectural history, with
in-depth readings of the works of many key British architects,
artists, and critics from Ruskin and William Morris to Alison and
Peter Smithson, Eduardo Paolozzi, Richard Rogers and Caruso St
John.
This book uses intermedial theories to study collage and montage,
tracing the transformation of visual collage into photomontage in
the early avant-garde period. Magda Dragu distinguishes between the
concepts of collage and montage, as defined across several media
(fine arts, literature, music, film, photography), based on the
type of artistic meaning they generate, rather than the mechanical
procedures involved. The book applies theories of intermediality to
collage and montage, which is crucial for understanding collage as
a form of cultural production. Throughout, the author considers the
political implications, as collages and montages were often used
for propagandistic purposes. This book combines research methods
used in several areas of inquiry: art history, literary criticism,
analytical philosophy, musicology, and aesthetics.
Together with important First Nations material, the Thomson
Canadian Collection is the largest of all private holdings of
Canadian art. There are rare and incomparable examples of Northwest
Coast Aboriginal art. Krieghoff's inspired accounts of life in the
Canadas, prior to Confederation, bring the light and atmosphere of
history fully into the present. A staggering power to capture the
fleeting and the fugitive in paint still distinguishes the work of
the early 20th-century painter Morrice.
On the centenary of the fascist party's ascent to power in Italy,
Curating Fascism examines the ways in which exhibitions organized
from the fall of Benito Mussolini's regime to the present day have
shaped collective memory, historical narratives, and political
discourse around the Italian ventennio. It charts how shows on
fascism have evolved since the postwar period in Italy, explores
representations of Italian fascism in exhibitions across the world,
and highlights blindspots in art and cultural history, as well as
in exhibition practices. Featuring contributions from an
international group of art, architectural, design, and cultural
historians, as well as journalists and curators, this book treats
fascism as both a historical moment and as a major paradigm through
which critics, curators, and the public at large have defined the
present moment since World War II. It interweaves historical
perspectives, critical theory, and direct accounts of exhibitions
from the people who conceived them or responded to them most
significantly in order to examine the main curatorial strategies,
cultural relevance, and political responsibility of art exhibitions
focusing on the Fascist period. Through close analysis, the chapter
authors unpack the multifaceted specificity of art shows, including
architecture and exhibition design; curatorial choices and
institutional history; cultural diplomacy and political history;
theories of viewership; and constructed collective memory, to
evaluate current curatorial practice. In offering fresh new
perspectives on the historiography, collective memory, and
understanding of fascist art and culture from a contemporary
standpoint, Curating Fascism sheds light on the complex exhibition
history of Italian fascism not just within Italy but in such
countries as the USA, the UK, Germany, and Brazil. It also presents
an innovative approach to the growing field of exhibition theory by
bringing contributions from curators and exhibition historians, who
critically reflect upon curatorial strategies with respect to the
delicate subject of fascism and fascist art, into dialogue with
scholars of Italian studies and art historians. In doing so, the
book addresses the physical and cultural legacy of fascism in the
context of the current historical moment.
This book, featuring the life and works of Ralph Blakelock,
situates him in the context of American art. Representing over
twenty years of study and the examination of several thousand works
attributed to him, "Beyond Madness" reveals the unusual nature of
Blakelock's life story as it offers clear parallels to his
painting. Largely self-taught and supported by few patrons,
Blakelock regularly struggled with the financial pressures of
supporting his nine children and pursuing his art. Called both
brilliant and doomed, and institutionalized on and off for the last
decade of his life, he nonetheless created some of the most
beloved--and some of the most frequently forged--paintings in the
American canon. As in the author's own time, modern assessments of
his work are often colored by notions of Blakelock the man, leading
to a paradoxical legacy of suffering and hope, obscurity and
prominence. Taking Blakelock's art on its merits, "Beyond Madness"
stands as a testament to the indefatigable spirit of art
scholarship as well as a tribute to the artist and his enduring
passion for the creative process. It finally casts new light on the
life and character of Blakelock and on the nature of the
incomparable art he contributed to the American tradition.
Since it was first published in 1992, this book has become one of
the leading anthologies of art theoretical texts in the
English-speaking world. This expanded edition includes the best
recent reflections, taking the anthology up to the turn of the 21st
century. The book offers comprehensive representation of the
theories which underpinned developments in the visual arts during
the 20th century. As well as writings by artists, the anthology
includes texts by critics, philosophers, politicians and literary
figures. The content is clearly structured into eight broadly
chronological sections, starting from the legacy of symbolism at
the beginning of the century and concluding with contemporary
debates about postmodernism. The editors provide introductions to
all of the more than 300 texts, placing theories and critical
approaches in context.
The Stebbins Collection - the private collection of Dr. Theodore E.
Stebbins, Jr., the esteemed historian of American art and foremost
expert on Martin Johnson Heade, and his wife, Susan Cragg Stebbins,
successful author and art historian - consists of 70 American
paintings, sculpture, and works on paper by 53 artists. Recently
donated to The Charles Hosmer Morse Museum of American Art,
Florida, this incredible collection includes remarkable works by
American masters ranging from Martin Johnson Heade and Thomas
Eakins to Fidelia Bridges and John La Farge, well-known artists
Albert Bierstadt and Thomas Moran and little-known figures like
Arthur I. Keller and Walter Granville-Smith. Publication in October
2021 will not only highlight the significance of this private
collection built over a lifetime by the Stebbinses, but it is also
a valuable contribution to the field of 19th and early-20th-century
American art, and to the history of collections and collecting.
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.
According to the National Institute of Mental Health, more than
half of the world's population will have a depressive disorder at
some point in their lifetimes. In The Aesthetics of Disengagement
Christine Ross shows how contemporary art is a powerful yet largely
unacknowledged player in the articulation of depression in Western
culture, both adopting and challenging scientific definitions of
the condition. Ross explores the ways in which contemporary art
performs the detached aesthetics of depression, exposing the
viewer's loss of connection and ultimately redefining the function
of the image. Ross examines the works of Ugo Rondinone, Rosemarie
Trockel, Ken Lum, John Pilson, Liza May Post, Vanessa Beecroft, and
Douglas Gordon, articulating how their art conveys depression's
subjectivity and addresses a depressed spectator whose memory and
perceptual faculties are impaired. Drawing from the fields of
psychoanalysis as well as psychiatry, Ross demonstrates the ways in
which a body of art appropriates a symptomatic language of
depression to enact disengagement - marked by withdrawl, radical
protection of the self from the other, distancing signals,
isolation, communication ruptures, and perceptual insufficiency.
Most important, Ross reveals the ways in which art transforms
disengagement into a visual strategy of disclosure, a means of
reaching the viewer, and how in this way contemporary art puts
forth a new understanding of depression.
An unconventional and illuminating new history of British landscape
art in the post-war period In this trailblazing study, Margaret
Garlake complicates traditional histories of British landscape art
in the post-war period. Drawing together work from painters and
photographers-many of them women-Garlake expands the conventional
view of the genre to include both rural and urban subjects. In
doing so, she brilliantly places the work within the context of
physical changes wrought by postwar society, as the British
countryside reverted to civilian use, cities were built, and
artists adjusted to the landscape as a site of both tradition and
modernity. Carefully researched and subtly argued, this book will
deepen our understanding of a fascinating period in British art
history. Distributed for Modern Art Press
The penultimate volume of the acclaimed catalogue raisonne
showcases paintings of some of Sargent's favorite places and people
After John Singer Sargent (1856-1925) determined to curtail his
internationally successful portrait practice, he had more freedom
to paint where and what he wanted. Volume VIII of the John Singer
Sargent catalogue raisonne transports us to the artist's most
beloved locations, often with his friends and family. In the
paintings featured here, Sargent returned to subjects that had
always held deep personal connections and artistic challenges:
mountains, streams, rocks and torrents, figures in repose,
architecture and gardens, boats and shipping. He had known and
painted the Alps since childhood, and his new Alpine studies make
up the greatest number of works in this book. Beautifully designed,
this volume represents a continuation in organization and
presentation of the high standards that mark the series, and
documents 299 works in oil and watercolor. Each painting is
catalogued with full provenance, exhibition history, and
bibliography. Wherever possible, works are illustrated in color;
some are accompanied by related drawings and comparative studies by
Sargent's fellow artists. Contemporary photographs pinpoint the
places and views that Sargent painted. Published in association
with the Paul Mellon Centre for Studies in British Art
"Catherine Cusset's book caught a lot of me. I recognised myself"
DAVID HOCKNEY "A perfect short expose of Hockney's life as seen
through the eyes of an admiring novelist" Kirkus Reviews "Hers is
an affirming vision of a restless talent propelled by optimism and
chance" New York Times With clear, vivid prose, this meticulously
researched novel draws an intimate, moving portrait of the most
famous living English painter. Born in Bradford in 1937, David
Hockney had to fight to become an artist. After leaving home for
the Royal College of Art in London his career flourished, but he
continued to struggle with a sense of not belonging, because of his
homosexuality, which had yet to be decriminalised, and because of
his inclination for a figurative style of art, which was not
sufficiently "contemporary" to be valued. Trips to New York and
California - where he would live for many years and paint his
iconic swimming pools - introduced him to new scenes and new loves,
beginning a journey that would take him through the fraught years
of the AIDS epidemic. A compelling hybrid of novel and biography,
David Hockney: A Life offers an insightful overview of a painter
whose art is as accessible as it is compelling, and whose passion
to create has never been deterred by heartbreak or illness or loss.
Translated from the French by Teresa Lavender Fagan
Fragmentation of the Photographic Image in the Digital Age
challenges orthodoxies of photographic theory and practice. Beyond
understanding the image as a static representation of reality, it
shows photography as a linchpin of dynamic developments in
augmented intelligence, neuroscience, critical theory, and
cybernetic cultures. Through essays by leading philosophers,
political theorists, software artists, media researchers, curators,
and experimental programmers, photography emerges not as a mimetic
or a recording device but simultaneously as a new type of critical
discipline and a new art form that stands at the crossroads of
visual art, contemporary philosophy, and digital technologies.
Restoring a "perfect painter" to the Cubist canon Juan Gris
(1887-1927) was central to the development of Cubism in the early
20th century. Though the writer and art collector Gertrude Stein
considered him a "perfect painter," Gris's pivotal role within the
movement has often been overshadowed. Cubism in Color: The Still
Lifes of Juan Gris reveals the virtuosic range of the artist's
short yet prolific career, illuminating his boundary-pushing
contributions to Cubism. As a thorough examination of Gris's still
lifes, Cubism in Color provides an important reassessment of this
underappreciated artist, reestablishing his position as a modernist
master. This fully illustrated volume traces the evolution of
Gris's aesthetic and approach to still life through a selection of
key works. It includes original essays by leading scholars in the
field, offering new insights on Gris's elusive artistic process,
the history of collecting his work in the United States and his
native Spain, and his artistic legacy within modern and
contemporary Latin American art. Distributed for the Dallas Museum
of Art and The Baltimore Museum of Art Exhibition Schedule: Dallas
Museum of Art (March 14-July 25, 2021) The Baltimore Museum of Art
(September 12, 2021-January 9, 2022)
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.
Art AIDS America is the first comprehensive overview and
reconsideration of 30 years of art made in response to the AIDS
epidemic in the United States. This book foregrounds the role of
HIV/AIDS in shifting the development of American art away from the
cool conceptual foundations of postmodernism and toward a new, more
insistently political and autobiographical voice. Art AIDS America
surveys more than 100 works of American art from the early 1980s to
the present, reintroducing and exploring the whole spectrum of
artistic responses to HIV/AIDS, from in-your-face activism to quiet
elegy.
`I'm for mechanical art', said Andy Warhol (1928-1987). `When I
took up silkscreening, it was to more fully exploit the
preconceived image through commercial techniques of multiple
reproduction.' Printmaking was a vital artistic practice for Andy
Warhol. Prints figure prominently throughout his career from his
earliest work as a commercial illustrator in the 1950s, to the
collaborative silkscreens made in the Factory during the 1960s and
the commissioned portfolios of his final years. In their
fascination with popular culture and provocative subverting of the
difference between original and copy, Warhol's prints are
recognized now as a prescient forerunner of today's
hypersophisticated, hyper-saturated and hyper-accelerated visual
culture. Andy Warhol Prints, published to accompany a major
exhibition at the Portland Art Museum - the largest of its kind
ever to be presented - includes approximately 250 of Warhol's
prints and ephemera from the collection of Jordan D. Schnitzer,
including iconic silkscreen prints of Campbell's soup cans and
Marilyn Monroe. Organized chronologically and by series, Andy
Warhol Prints establishes the range of Warhol's innovative graphic
production as it evolved over the course of four decades, with a
particular focus on Warhol's use of different printmaking
techniques, beginning with illustrated books and ending with screen
printing.
Art and the Nation State is a wide-ranging study of the reception
and critical debate on modernist art from the foundation of the
Irish Free State in 1922 to the end of the modernist era in the
1970s. Drawing on art works, media coverage, reviews, writings and
the private papers of key Irish and international artists, critics
and commentators including Samuel Beckett, Thomas MacGreevy,
Clement Greenberg, James Johnson Sweeney, Herbert Read and Brian
O'Doherty, the study explores the significant contribution of Irish
modernist art to post-independence cultural debate and diverging
notions of national Irish identity. Through an analysis of major
controversies, the book examines how the reputations of major Irish
artists was moulded by the prevailing demands of national identity,
modernization and the dynamics of the international art world.
Debate about the relevance of the work of leading international
modernists such as the Irish-American sculptor, Andrew O'Connor,
the French expressionist painter, Georges Rouault, the British
sculptor Henry Moore and the Irish born, but ostensibly British,
artist Francis Bacon to Irish cultural life is also analysed, as is
the equally problematic positioning of Northern Irish artists.
This richly sumptuous edition reveals the exqusite complexity of
the paintings by renowned Georgian artist Rezo Gabriadse. Enriched
with a smartly designed autobiography by the artist. Painter,
illustrator, sculptor, Screenplay author, journalist, costume and
stage designer: The renowned Georgian artist Rezo Gabriadse (*1936)
is all this and much more. Life itself is always at the centre of
his oeuvre, with the tragi-comical moments of everyday existence
that he captures in many different ways, through his enormously
intentive spirit, his creative powers and his intelligence.
Throughout "a delicate, melancholy undertone runs through the
creations of this gentle poet, like a cantus fimrus," writes
Michael Semff. Gabriadze's paintings and the gouaches, which tend
toward the painterly, comprise the centrepiece of this richly
illustrated volume. The art of a great man, whose works have
already been seen in famous museums like the Hermitage in St.
Petersburg, the Dostoyevsky Museum in Moscow, the Pushkin Museum
and the Städtische Galerie im Lenbachhaus in Munich. This
multi-talent has drawn international attention, especially since
opening his puppet theatre in Tiflis in 1981. This allowed him to
fulfill one of his dearest wishes: to create a small universe in
which all of the creative strings are held by his own hand, so to
speak.
This book examines the legacy of international interwar modernism
as a case of cultural transfer through the travels of a central
motif: the square. The square was the most emblematic and widely
known form/motif of the international avant-garde in the interwar
years. It originated from the Russian artist Kazimir Malevich who
painted The Black Square on White Ground in 1915 and was then
picked up by another Russian artist El Lissitzky and the Dutch
artist Theo van Doesburg. It came to be understood as a symbol of a
new internationalism and modernity and while Forgács uses it as
part of her overall narrative, she focuses on it and its journey
across borders to follow its significance, how it was used by the
above key artists and how its meaning became modified in Western
Europe. It is unusual to discuss interwar modernism and its postwar
survival, but this book’s chapters work together to argue that
the interwar developments signified a turning point in
twentieth-century art that led to much creativity and innovation.
Forgács supports her theory with newly found and newly interpreted
documents that prove how this exciting legacy was shaped by three
major agents: Malevich, Lissitzsky and van Doesburg. She offers a
wider interpretation of modernism that examines its postwar
significance, reception and history up until the emergence of the
New Left in 1956 and the seismic events of 1968.
What is modern art? Why do we either love it or loathe it? And why
is it worth so much damn money? Join Will Gompertz on a dazzling
tour that will change the way you look at modern art forever. From
Monet's water lilies to Van Gogh's sunflowers, from Warhol's soup
cans to Hirst's pickled shark, hear the stories behind the
masterpieces, meet the artists as they really were, and discover
the real point of modern art. You will learn: not all conceptual
art is bollocks; Picasso is king (but Cezanne is better); Pollock
is no drip; Dali painted with his moustache; a urinal changed the
course of art, why your five year-old really couldn't do it.
Refreshing, irreverent and always straightforward, What Are You
Looking At? asks all the basic questions that you were too afraid
to ask. Your next gallery trip is going to be a little less
intimidating and a lot more interesting.
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