"A richly illustrated biography of a fascinating artist."

David Milne (1882-1953) experienced life as an artist in turn-of-the-century New York, as a soldier in World War I, and as a contemporary of the Group of Seven in Canada. This book traces the gifted painter's development over the course of tumultuous personal and historical events.

Milne enjoyed early success, and five of his works were exhibited at the landmark Armory Show of 1913 in New York, alongside paintings by Monet, Duchamp, Matisse and Van Gogh. He was, according to America's foremost art critic, Clement Greenberg, among the three greatest artists of their generation in North America. His highly original paintings from his early career earned him critical acclaim, and at age 65 he was still considered, by curators and other artists, as Canada's most innovative artist.

David Milne: An Introduction to His Life and Art is a richly illustrated book that elegantly captures the development of an artist who saw magic in everyday life and painted with verve and passion.

Since the 2011 Arab Spring street art has been a vehicle for political discourse in the Middle East, and has generated much discussion in both the popular media and academia. Yet, this conversation has generalised street art and identified it as a singular form with identical styles and objectives throughout the region. Street art's purpose is, however, defined by the socio-cultural circumstances of its production. Middle Eastern artists thus adopt distinctive methods in creating their individual work and responding to their individual environments. Here, in this new book, Sabrina De Turk employs rigorous visual analysis to explore the diversity of Middle Eastern street art and uses case studies of countries as varied as Egypt, Tunisia, Lebanon, Palestine, Bahrain and Oman to illustrate how geographic specifics impact upon its function and aesthetic. Her book will be of significant interest to scholars specialising in art from the Middle East and North Africa and those who bring an interdisciplinary perspective to Middle East studies.

Louisville-born and nationally renowned sculptor Enid Yandell (1869--1934) was ahead of her time. She began her career when sculpture was considered too physical, too messy, and too masculine for women. Yandell challenged the gender norms of early-twentieth-century artistic practice and became an award-winning sculptor, independent artist, and activist for women's suffrage. This study examines Yandell's life and work: how she grew from a young, Southern dilettante -- the daughter of a Confederate medical officer -- into a mature, gifted artist who ran in circles with more established male artists in New York and Paris, such as Frederick MacMonnies and Auguste Rodin. At the World's Columbian Exposition in Chicago in 1893, she was one of a select group of women sculptors, known as the White Rabbits, who sculpted the statues and architectural embellishments of the fair. As a result of her success in Chicago, Yandell was commissioned to create a twenty-five foot figure of Pallas Athena for Nashville's Centennial Exposition in 1897. Newspapers hailed it as the largest statue ever created by a woman. Yandell's command of classical subject matter was matched by her abilities with large-scale, figurative works such as the Daniel Boone statue in Cherokee Park, Louisville. In 1898 Yandell was among the first women to be selected for membership in the National Sculpture Society, the first organization of professional sculptors formed in the United States. Presented to coincide with the 150th anniversary of her birth, this study demonstrates the ways in which Yandell was a pioneer and draws attention to her legacy.

Fernand Leger (1881-1955) is famed for his mechanical-tubular Cubism of the 1920s and for the Futurist-inspired film "Ballet Mecanique," his collaboration with composer George Antheil. Leger incorporated elements from a wide range of modernist artistic movements, including Fauvism, Neoplasticism, Surrealism, Neoclassicism and even Social Realism. This volume includes 35 color images; a commentary by Carolyn Lanchner, a former curator of painting and sculpture at MoMA, accompanies each work, elucidating its significance and its context.

This is an unflinching and honest portrayal of how numerous artists and their works were used during the German occupation of France. "Art of the Defeat" provides an unflinching an honest look at the art scene in France during the German occupation of World War II. Beginning with Adolf Hitler's staging of the armistice at Rethondes, it offers a survey of Nazi and Vichy artistic policies, key events and organizations, and individual acts of collaboration and resistance. It examines the demonization of foreigners, the looting of state museums and Jewish collections, the glorification of Philippe Petain and French national identity, and the official junket by French artists to Germany. Drawing on research and discussions of the works of artists such as Gerard Ambroselli, Arno Breker, Henri Matisse, Pablo Picasso, and dozens of others, this volume is a pioneering look at how art can be used to hold despair and defeat at bay.

Departing from his earlier figurative works and engagement with Futurist ideals, Italian painter Osvaldo Licini (1894-1958) turned away from realism in 1940 and painted only abstract works from then on. His paintings from that fruitful decision engage in a surrealist language of precise lines, solid colors and pregnant signs; colors and signs that Licini viewed as expressions of energy, willpower, ideas and magic. This catalog of Licini's show at the Peggy Guggenheim Collection in Venice, the most comprehensive monograph of his work, marks the 60th anniversary of his death. That same year, Licini won the National Grand Prize for Painting at the 29th Venice Biennale, where he had shown 53 works--executed between 1925 and 1958--in a room of his own, mounted by Carlo Scarpa. This catalog gathers his complete works, including those displayed in that same venue 60 years prior to this 2018 show.

Luigi Russolo (1885OCo1947)OCopainter, composer, builder of musical instruments, and first-hour member of the Italian Futurist movementOCowas a crucial figure in the evolution of twentieth-century aesthetics. As creator of the first systematic poetics of noise and inventor of what has been considered the first mechanical sound synthesizer, Russolo looms large in the development of twentieth-century music. In the first English language study of Russolo, Luciano Chessa emphasizes the futuristOCOs interest in the occult, showing it to be a leitmotif for his life and a foundation for his art of noises. Chessa shows that RussoloOCOs aesthetics of noise, and the machines he called the "intonarumori," were intended to boost practitioners into higher states of spiritual consciousness. His analysis reveals a multifaceted man in whom the drive to keep up with the latest scientific trends coexisted with an embrace of the irrational, and a critique of materialism and positivism.

Among his many captivating exploits, the French artist Yves Klein (1928 - 1962) invented his own brand of colour: the inimitable International Klein Blue. Denounced as a charlatan and feted as a mystic, Klein scandalized the art world with his enthusiastic embrace of the highs and lows of post-war mass culture and his exploitation of controversial publicity tactics. Today it is clear that Klein was not only one of the most radical artists of the post-war period but an iconic role model for contemporary practices: he reinvented abstract painting, conceived new horizons for performance art and was a trailblazer in the interdisciplinary realm of land, body and conceptual art. Nuit Banai examines the relationship between Klein's brief but incandescent life and his wide repertoire of artistic practices. The book establishes that Klein's brilliance was above all performative, as he created and inhabited a cast of public identities: avant-garde artist, bourgeois, judo expert, painter, charlatan, collaborator, politician, middle-class mystic, fascist and showman.With each persona, Klein invented new ways to communicate his paradoxical message of spiritual enlightenment and Dada iconoclasm to an unsuspecting, bemused and entranced audience. This new critical biography illuminates Klein's influential and multifaceted artistic career. Alongside contemporaries like Andy Warhol and Joseph Beuys and postmodern chameleons like Cindy Sherman, Klein's protean performance of multiple roles stands as a landmark example of the artist's transformational status. An invaluable introduction to the life and work of this flamboyant individual, Yves Klein will appeal to students and scholars of Klein as well as those interested in contemporary art and twentieth-century culture.

Burne Hogarth is one of the most famous artists in the history of comic strips - at the peak with Alex Raymond ("Flash Gordon") and Hal Foster ("Prince Valiant"). In 1936 he followed Foster on the massively popular Tarzan comic strip, and set a new standard for dynamics and excitement. This is the first of four exclusive volumes that will collect Hogarth's entire run, beginning with" Tarzan "and the "Golden City."
Restored and reproduced in an oversized format, these editions will finally do justice to one of the most lauded illustrators of all time, whose work has been out of print for more than a decade.
Details of illustrations:
Full-color restorations of the newspaper strips, reproduced in the oversized full-page format made popular by current collections of "Prince Valiant" and "Popeye the Sailor."
Details of extras:
Historical articles from Scott Tracy Griffin, author of "Tarzan: The Centennial Celebration"

Art is not political action. Art is not education. Art does not exist to make society stronger, or the world a better place. Art disrupts and resists the comfortable, the stiflingly familiar and the status quo, or it only serves to deaden a disenfranchised society further. So argues This Is Not Art, a radical and vigorous critique that debunks myths about art in order to celebrate its real and unique importance. With the postmodern deconstruction of now-outdated shibboleths such as 'genius', 'authenticity' and 'beauty', new and neoliberal myths about art have arisen to take their place: that art's value is primarily monetary as a prized and marketable commodity, or that art is important because it ameliorates social problems. These ideas are not only the province of art-dealers and power-brokers, but pervade the part of the artworld that defines itself as radical, political or ethical too. Highlighting the social mechanisms of legitimisation and dissemination that exclude the genuinely disruptive or defiant, This Is Not Art draws on Foucault and Marx to uncover an artworld obsessed with profit and from which diversity, individuality and freedom have been erased. In the search for a new way to understand art's urgent importance, Alana Jelinek returns to the question of 'what is art?', retelling the history of art practice for our contemporary moment and exposing the ways in which neoliberal norms and values have seeped into every aspect of our lives. From the author's unique perspective as a practicing artist and theoretician, This Is Not Art offers not just a searing criticism of the artworld as it is, but a vision of a new way of understanding and practicing art - as the embodiment of power and agency within us, the possibility of thinking and acting differently, of finding new stories to tell.

More than one hundred years after Futurism exploded onto the European stage with its unique brand of art and literature, there is a need to reassess the whole movement, from its Italian roots to its international ramifications. In wide-ranging essays based on fresh research, the contributors to this collection examine both the original context and the cultural legacy of Futurism. Chapters touch on topics such as Futurism and Fascism, the geopolitics of Futurism, the Futurist woman, and translating Futurist texts. A large portion of the book is devoted to the practical aspects of performing Futurist theatrical ideas in the twenty-first century.

This book marks the centenary of Marcel Duchamp's Fountain by critically re-examining the established interpretation of the work. It introduces a new methodological approach to art-historical practice rooted in a revised understanding of Lacan, Freud and Slavoj Zizek. In weaving an alternative narrative, Kilroy shows us that not only has Fountain been fundamentally misunderstood but that this very misunderstanding is central to the work's significance. The author brings together Duchamp's own statements to argue Fountain's verdict was strategically stage-managed by the artist in order to expose the underlying logic of its reception, what he terms 'The Creative Act.' This book will be of interest to a broad range of readers, including art historians, psychoanalysts, scholars and art enthusiasts interested in visual culture and ideological critique.

"Ambiguous work. Where can we start?", wrote the art historian Oscar Schurer in the historic series Junge Kunst about Pablo Picasso's multi - faceted oeuvre back in 1927. Picasso, who was investigating Surrealism at the time, was regarded as a genius even then - and had another 40 years of creativity before him. The magnificent legacy of a talent which showed twentieth - century art the way forward consists of an almost unimaginable number of paintings, drawings, graphic works, sculp tures and ceramic items. The art historian Markus Muller knows where and above all how we can begin to grasp a multilayered oeuvre like Picasso's. In this newly edited artist monograph he skilfully guides the reader through the virtuoso plethora of styles of Pablo Picasso, explains key works from the various periods and provides a fascinating impression of the bubbling energy of this multi - talented artist. Not least as a result of the author's personal acquaintance with the Picasso family, the archive sect ion of the work promises a number of finds which are seldom on view.

By retracing Frank Lloyd Wright's footsteps on journeys he made beyond his homeland of the USA, this book explores his global ambitions and his lasting legacy and offers an original and contemporary view of Wright and his architecture. While Lloyd Wright is perceived as the quintessential American architect, in fact he was well-travelled, and these six journeys were to develop and promote his globalising 'organic' philosophy. The author takes off first to Japan and Germany to explore the way Wright's visits to these countries informed and framed his 'Prairie House' period. He then travels to Russia and the UK, where Wright presented his global 'Usonian' manifesto. The final two chapters pursue Wright to Italy and the Middle East as part of his 'Legacy' period. The book is beautifully illustrated with Wright's own sketches and photographs, as well as some historical photographs of Wright's original journeys and works. The author meets people who are living and coping with Wright's 'organic' architecture today and asks them whether their homes are still true to Wright's intent or whether there is something else that made their home particular.By considering Wright beyond America, his architecture is critiqued against different cultural settings so that it can be evaluated as emerging from a new globalised era of architectural production. The author reflects on Frank Lloyd Wright as an early promoter of globalisation - in fact, as the first 'global architect'.

This book is a glorious celebration of Rhoda Pritzker's collection of 20th-century British art, much of which has been donated to the Yale Center for British Art. Pritzker, who was born in Manchester in1914 and emigrated to the United States during the Blitz, was an avid and daring collector of paintings, sculptures, and drawings. Keen to support artists whose reputations were still emerging, and loyal to no single school or style, she developed a unique and impressively diverse collection. While Pritzker most actively purchased pieces in the 1950s and 1960s, her collection offers a fascinating window onto postwar artistic production. Beautifully illustrated, this catalogue features a number of unpublished works and archival materials. Among the artists discussed are key figures, including L. S. Lowry, Barbara Hepworth, Anthony Caro, and Henry Moore, as well as lesser-known artists. The texts elucidate the factors that made Pritzker's method of collecting so singular-namely her relationship to an evolving transatlantic artistic community and the deeply personal nature of the works she procured. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art, New Haven (05/11/2016-08/21/2016)

This final volume in the British Sculptors and Sculpture series addresses the work of the important but neglected British sculptor Francis Derwent Wood RA (1871-1926). A student of Edouard Lanteri at the Royal College of Art, Derwent Wood's early artistic career was distinguished. His reputation grew rapidly and a period as Director of Modelling at the Glasgow School of Art saw him working on public commissions with many of the city's most important architects. Simultaneously, he built his London practice, perfecting the art of the rapidly executed, observationally astute portrait bust, and becoming a well-connected member of the Chelsea set. He exhibited at the Royal Academy every year from 1895 until his death in 1926, becoming a full Academician in 1920. During the First World War he carried out pioneering work in the field of facial prosthetics. He was appointed Professor of Sculpture at the Royal College of Art in 1918, where Henry Moore was amongst his many pupils. Derwent Wood's Machine Gun Corps memorial at Hyde Park Corner in London, completed in the year of his death, is amongst the best-known and most consistently reviled sculptures in Britain. Matthew Withey offers readers a subtle and layered interpretation of the career that led up to this iconic and misunderstood work, together with a comprehensive catalogue of Derwent Wood's diverse body of work.

C.R.W. Nevinson (1889-1946) is regarded as one of the finest British printmakers of the first half of the twentieth century - admired by contemporaries and modern-day viewers in equal measure. Yet despite this assured reputation, nothing substantial has been published on his remarkable printmaking career until now. Nevinson began creating prints in 1916, only stopping, due to ill health, in 1932. During this period he produced 148 prints, all of which reflecting his distinct vision and outstanding skills as a printmaker. Providing historical and social insights, his body of work is impressive in its range - images depicting the horrors of the First World War sit alongside contrasting cityscapes which present Nevinson's singular interpretation of Paris, New York and London. Drawing on original archival research and including a catalogue raisonne of Nevinson's prints, this unrivalled resource stands as a landmark publication in the literature available on this outstanding British modernist. It is an essential reference volume for all those who collect, sell or study Nevinson's prints and also provides much needed context for those with a general interest in the artist and the period in which he worked.

In this study 'Art, Poetry and WW1, by Edward Lucue-Smith of writing, poetry and painting In the Centenary Year of the outbreak of the First World War the author considers the historical impact on the general psyche of the calamitous events, reflected in the expression of poets and visual artists. The volume includes Eric Kennington, CRW Nevinson, John Singer Sargent, William Orpen, Stanley Spencer and Paul Nash; and writers Siegfried Sassoon, Isaac Rosenberg, Wilfred Owen, Edward Thomas and T.S. Eliot. In Europe the painters: Otto Dix, Max Beckman, Franz Marc, Gino Severini, Ernst Ludwig Kirchner, Ludwig Meidner. He establishes a continuity to the theme with reference to works by Velazquez, Watteau, Goya and others, in their treatment of the spectacle of battle and the horrors of human conflict.

Looking at the newspaper clipping from 1870 to 1930 in art and science, this study examines knowledge production and its visual and material background, combining the perspectives of media history with art history and the history of science. It traces the biography of a newspaper clipping in different fields, ranging from highly sophisticated ordering systems in the sciences, to bureaucratic archives, to their appearance in the collages of the Dadaists. Te Heesen emphasises the materiality of paper and analyses the practices connected with it, placing them and their instruments and tools within a theoretical framework. This history also sheds light on the handling of information, information overload and the generation of knowledge, drawing parallels with the internet. Te Heesen offers a counterpoint to existing works on the iconographic meaning of materials by opening up an interdisciplinary framework through the use of different case studies. -- .

Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay's interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early twentieth-century urban America. McCay's role as a pioneer of early comics has been documented; yet, no existing study approaches him and his work from an art historical perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. From circus posters and vaudeville skits to department store window displays and amusement park rides, McCay found fantastical inspiration in New York City's burgeoning entertainment and retail districts. Wide Awake in Slumberland connects McCay's work to relevant children's literature, advertising, architecture, and motion pictures in order to demonstrate the artist's sophisticated blending and remixing of multiple forms from mass culture. Studying this interconnection in McCay's work and, by extension, the work of other early twentieth-century cartoonists, Roeder traces the web of relationships connecting fantasy, leisure, and consumption. Readings of McCay's drawings and the eighty-one black and white and color illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.