From the late 1910s through the 1950s, particularly, the Caribbean nation of Haiti drew the attention and imaginations of many key U.S. artists, yet curiously, while significant studies have been published on Haiti's history and inter-American exchanges, none analyze visual representations with any depth. The author calls not only on the methodologies of art history, but also on the interdisciplinary eye of visual culture studies, anthropology, literary theory, and tourism studies to examine the fine arts in relation to popular arts, media, social beliefs, and institutional structures. Twa emphasizes close visual readings of photographs, illustrations, paintings, and theatre. Extensive textual and archival research also supports her visual analysis, such as scrutinizing the personal papers of this study's artists, writers, and intellectuals. Among the literary and artistic luminaries of the twentieth century that Twa includes in her discussion are Richmond Barthe, Eldzier Cortor, Aaron Douglas, Katherine Dunham, Langston Hughes, Zora Neale Hurston, Alexander King, Jacob Lawrence, James Weldon Johnson, LoA-s Mailou Jones, Eugene O'Neill, and William Edouard Scott. Twa argues that their choice of Haiti as subject matter was a highly charged decision by these American artists to use their artwork to engage racial, social, and political issues.

Foreign Artists and Communities in Modern Paris, 1870-1914 examines Paris as a center of international culture that attracted artists from Western and Eastern Europe, Asia and the Americas during a period of burgeoning global immigration. Sixteen essays by a group of emerging and established international scholars - including several whose work has not been previously published in English - address the experiences of foreign exiles, immigrants, students and expatriates. They explore the formal and informal structures that permitted foreign artists to forge connections within and across national communities and in some cases fashion new, transnational identities in the City of Light. Considering Paris from an innovative global perspective, the book situates both important modern artists - such as Edvard Munch, Sonia Delaunay-Terk, Marc Chagall and Gino Severini - and lesser-known American, Czech, Italian, Polish, Welsh, Russian, Japanese, Catalan, and Hungarian painters, sculptors, writers, dancers, and illustrators within the larger trends of international mobility and cultural exchange. Broadly appealing to historians of modern art and history, the essays in this volume characterize Paris as a thriving transnational arts community in which the interactions between diverse cultures, peoples and traditions contributed to the development of a hybrid and multivalent modern art.

This book investigates architecture as a form of diplomacy in the context of the Second World War at six major European international and national expositions that took place between 1937 and 1959. The volume gives a fascinating account of architecture assuming the role of the carrier of war-related messages, some of them camouflaged while others quite frank. The famous standoffs between the Stalinist Russia and the Nazi Germany in Paris 1937, or the juxtaposition of the USSR and USA pavilions in Brussels 1958, are examples of very explicit shows of force. The book also discusses some less known - and more subtle - messages, revealed through an examination of several additional pavilions in both Paris and Brussels; of a series of expositions in Moscow; of the Universal Exhibition in Rome that was planned to open in 1942; and of London's South Bank Exposition of 1951: all of them related, in one way or another, to either an anticipation of the global war or to its horrific aftermaths. A brief discussion of three pre-World War II American expositions that are reviewed in the Epilogue supports this point. It indicates a significant difference in the attitude of American exposition commissioners, who were less attuned to the looming war than their European counterparts. The book provides a novel assessment of modern architecture's involvement with national representation. Whether in the service of Fascist Italy or of Imperial Japan, of Republican Spain or of the post-war Franquista regime, of the French Popular Front or of socialist Yugoslavia, of the arising FRG or of capitalist USA, of Stalinist Russia or of post-colonial Britain, exposition architecture during the period in question was driven by a deep faith in its ability to represent ideology. The book argues that this widespread confidence in architecture's ability to act as a propaganda tool was one of the reasons why Modernist architecture lent itself to the service of such different masters.

A beautiful new gift art book all about Edvard Munch, the Norwegian artist behind the first truly Expressionist picture The Scream. Absorbed by such motifs as love, life, death and anguish, Munch's paintings captured the psychological feelings evoked by man. Beginning with a fresh and captivating introduction to Munch's life and art, the book showcases several of his works in all their glory.

Deluxe over-sized art-book celebrating the art of a lost master of horror illustration!, Celebrating the incredible art of Jordi Badia Romero from supernatural girls comic Misty, this sumptuous hardcover art book collects stories from the 1980s that showcase this remarkable, and criminally-overlooked, artist who died in 1984. The book also includes work by his brother, Enrique Badia Romero - artist on Modesty Blaise and Axa.,

This profusely illustrated book is the first full-length study of the Canadian-born sculptor David Rabinowitch. Working in New York since 1972 and extensively in Europe since the early 1980s, Rabinowitch became Professor of Sculpture at the Staatliche Kunstakademie, Dusseldorf, in 1984. Whitney Davis closely analyzes six groups of works produced by Rabinowitch between 1963 and the present, comparing their rigorous constructivism with the "minimalism" of American sculptors such as Donald Judd. Davis also explores Rabinowitch's relations to the work of modern painters and sculptors from Cezanne to David Smith, and his involvement with the wider history of art.

This title is published in conjunction with an exhibition which opened at the Fogg Museum in September 1996.

In endless odes to the female form, Amedeo Modigliani (1884-1920) traced elongated bodies, almond eyes, and his own name into art history. His languid female subjects are as instantly recognizable as they are startling, sensual, and swan-necked. Modigliani's unique figuration corresponded to his own personal idea of beauty, but drew upon a rich variety of visual influences, including contemporary Cubism, African carvings, Cambodian sculptures, and 13th-century painting from his native Italy. Although most renowned for his nude females, he applied similar stylistic techniques to portraits of male artistic contemporaries such as Pablo Picasso, Jean Cocteau, and Chaim Soutine. With key works from his highly individualistic repertoire, this book introduces Modigliani's brief but revered career at the heart of Paris's early modernist hotbed. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

The first book in English on Maruja Mallo, this volume is an insightful examination of the life and work of this seminal artist of the Spanish avant-garde. Previously sidelined by a culture that treated women as "insider-outsiders" and by her own mythmaking, Mallo no longer can be viewed as simply a muse to famous counterparts such as Salvador DalA and Federico GarcA a Lorca; her role has been re-contextualized to demonstrate that she was a driving force in the flowering of Spanish culture through the 1920s and 1930s. The analysis of Mallo's unique life and extraordinary art is set against the complicated social and political backdrop of interwar Madrid. This book highlights the struggle of Mallo and other women artists against the rampant misogyny of both Spanish culture and the avant-garde community of the time. The effects of the Spanish Civil War are also analyzed-in Mallo's case, Franco's victory forced her into exile in South America for almost 30 years, with profound effects on her art and her life. Added to this rich context, the author's numerous interviews with members of the Mallo family provide essential new background material. Maruja Mallo and the Spanish Avant-Garde recasts this artist as a vital figure in the heretofore all-male establishment of the Spanish artistic vanguard.

In his latest book, Bill Hare offers a comprehensive view of Scottish art from 1945 to the present day.

A draughtsman of remarkable ability, matching even his mentor Augustus John, Henry Lamb (1883-1960) was a founder-member of the Camden Town Group, exhibiting at their inaugural exhibition in 1911. He was a powerful and original War artist, and an engaging and sensitive portrait painter, whose group portraits in particular are as successful as those by any British painter of the age. To date unfairly eclipsed by the glamorous and culturally infl uential circle around him, Lamb is now probably best known through these fi gures and his many compelling portraits of them, amongst them Lady Ottoline Morrell, Evelyn Waugh and Lytton Strachey, whose monumental full-length portrait by Lamb in Tate Britain is probably the artist's best-known work. Lamb abandoned a promising medical career in Manchester to pursue his training as an artist at the London art school run by William Orpen and Augustus John. He found inspiration in the rural simplicity of Brittany, and a later visit to Ireland inspired his great genre painting Fisherfolk, Gola Island of 1913 - not seen in public since the last major retrospective in 1984. Following active service during the First World War as an army medical offi cer (for which he was awarded a Military Cross), he contributed two of the greatest artworks to the proposed National Hall of Remembrance a year after armistice in 1919. Following a productive period in Poole after the War, where he produced some evocative townscapes of its streets and skylines, he eventually settled in Coombs Bissett near Salisbury. Here he established a reputation as a sought-after portrait painter, executing a constant stream of landscapes, still lives, genre pictures and fi ne domestic subjects. Accompanying an exhibition at Salisbury Museum in 2018 and Poole Museum in 2019, Henry Lamb: Out of the Shadows will focus on over 50 works by the artist from across his career. As well as loans from major national collections, the group will include signifi cant works from private collections, including a substantial archive from the artist's family and a number of re-discovered masterpieces. The catalogue will also feature an introductory essay by Lamb's cousin, the writer Thomas Pakenham who knew the artist well.

This beautifully illustrated book is the first full-length critical study to focus on the watercolours of multitalented British artist and designer Eric Ravilious (1903-1942). Adopting the wide-ranging approach familiar to readers of his previous books on the artist, author James Russell explores the evolution of a remarkable talent. An introductory section offers an intimate portrait of Ravilious, an artist for whom personal relationships, particularly with women, were paramount. It goes on to describe the extraordinary achievements of an all-too-brief career, drawing on new research to seek out artistic influences and examine Ravilious's relationships with fellow-artists, as well as the development of his mark making. There follows the most comprehensive display of Ravilious watercolours yet assembled. Some have never been published, while others are familiar and well loved. Many are explored in short accompanying essays, some with full-bleed images that show details of paintings at full size. These texts are designed to entertain and enlighten, looking at composition, technique, influence and inspiration, or discussing the significance of particular subjects and the people behind the scenes. This is the definitive guide to the luminous, evocative and timeless watercolours of Eric Ravilious, an artist now regarded as one of the finest of the twentieth century.

Illustrator and cartoonist W. Heath Robinson is renowned for his ingenious and haphazard contraptions. His witty drawings of complicated machines, are ironically designed to simplify everyday life, but always manage to make everything appear more complicated! His work is steeped in the humour of calamity and his name soon became synonymous for absurd and makeshift devices. This delightful new book is packed with his madcap designs and the delicate watercolour illustrations which continue to delight us all today.

Allen W. Seaby's life has been described as "a classic tale of Victorian self-improvement." But there is more to the tale than just upward mobility. A. W. Seaby was a pioneering, innovative and inspirational man who rose to become a prominent print-maker, teacher, author and illustrator. Best-known for his colour woodcut printing using traditional Japanese methods, and as a prominent wildlife artist, the story of Seaby's many accomplishments is recounted by his grandson, who inherited Seaby's love of birds and became internationally renowned in his own right, Robert Gillmor. Alongside this personal recount, Martin Andrews (Seaby's successor as President of the Reading Guild of Artists) selects aspects of his career and expands upon his techniques, his illustrative methods, his circle of fellow artists and the books he published to give a full and rounded account of a man whose work is currently enjoying a well-deserved renaissance.

A key figure in the international avant-garde, Piet Mondrian (1872-1944) was at once an extraordinary painter and leading art theoretician whose influence resonates to this day. Coining the term "Neo-plasticism", he pursued a style of painting composed only of primary colors against a grid of black vertical and horizontal lines and a white base background. Mondrian's vision was that this essential painting would help to achieve a society in which art as such has no place, but rather exists for the total realization of "beauty." With stints in Amsterdam, Paris, London, and New York, Mondrian drew upon the modern metropolis and modern music, especially jazz, as points of inspiration. In 1917, he cofounded De Stijl, originally a publication, and subsequently a circle of practitioners, committed to a strictly geometrical art of horizontals and verticals. With key works and succinct texts, this introductory book presents Mondrian's distinctive and pioneering oeuvre, an abiding inspiration for fashion, art, architecture, and design, from White Stripes album covers to Yves Saint Laurent dresses. 2016 (c) US Mondrian/Holtzman Trust About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

That incomparable melancholy in Edward Hopper's pictures occasionally leads us to look at the details of his life. Where exactly did this master of loneliness live and work? What were his most important influences while he was working on his great paintings of America? In this wonderful, simply structured, A-to-Z book, Ulf Kuster pursues these themes, which say a great deal about the painter and his interests, and yet he never loses sight of the artist and the necessary distance to his inimitable pictures. Thus, Kuster strolls through the ABCs of Hopper's life and work, from the "American landscape," "Buick" "Goethe," and "shadow and sunlight" to the key word, "time." On the way he opens up many new doors or insights, enriching the views of Hopper's paintings and make it possible to interpret them in new ways. An entertaining and informative book.

More popular than ever, the work of Eric Ravilious (1903-42) is rooted in the landscape of pre-war and early wartime England. This best-selling book by Alan Powers, the established authority on Ravilious, provides the most comprehensive overview to date of the artist's work in all media - watercolour, illustration, printmaking, graphic design, textiles and ceramics - and firmly positions Ravilious as a major figure in the history of early 20th-century British art. Now available in paperback, the accessible and engaging text, copiously illustrated with reproductions of work drawn from a range of sources, discusses the part Ravilious' work played in creating an English style, positioned between tradition and modernism, and borrowing from naive and popular art of the past. The book analyses Ravilious' different spheres of activity in turn, covering his education and formative influences, his mural painting, his printmaking and illustration, his work as leader in forming a new style of watercolour painting between the wars and his final period as an official War Artist. In a career curtailed by an early death, Ravilious also played a significant role as a designer; Powers argues that Ravilious showed how decoration and historical reference could find a place in the reform of the applied arts whilst simultaneously renewing a sense of national identity. Eric Ravilious will be welcomed by all those with an interest in an artist whose imagination was backed by great skill and a sharp eye for the unusual.

In 1911, Le Corbusier (1887-1965) and his friend August Klipstein (1885-1951), a scholar of art history and later renowned art dealer, undertook a grand tour of Eastern Europe, the Balkans, Turkey, and Italy. While Klipstein's interests were more focused on research for his doctoral thesis, Le Corbusier's impressions were more immediate, his mindset more romantic. They both kept a diary of their journey and produced many sketches, drawings, watercolours, and photographs en route, sometimes capturing the same motif and even copying each other's work. While Le Corbusier's record was published in 1966 as Journey to the East and has become a classic, Klipstein's testimony of the expedition remained largely unknown until today. In this new book, Ivan Zaknic explores the creative symbiosis of this friendship and what the two ambitious young men brought back from their trip. Richly illustrated, including reproductions from both of their diaries, and featuring the complete text of Klipstein's diary as well as that of the little known correspondence between Le Corbusier and Klipstein, the book offers an entirely new perspective of this seemingly well-known undertaking. It introduces the personality of Klipstein as well as lesser-known facets of the very young Le Corbusier.

Painter, draftsman and engraver, Pierre Lesieur (1922-2011) was one of the most influential French artists of the second half of the 20th century. Trained at the Ecole des Beaux-Arts in Paris - where he took lessons from Andre Lhote - and at the Academie de Montmartre, he had his first exhibition in 1952. Lesieur's paintings of the 1950s are characterised by the use of brightly coloured areas, in line with the work of Henri Matisse and Pierre Bonnard. In the 1960s, this research bordered on abstraction, particularly in still lifes and representations of objects. From the 1970s onwards, through his paintings and drawings, Lesieur took a particular interest in interiors, as well as in portraits and female nudes. Early in his career, Pierre Lesieur was recognised as an important artist. After his first personal exhibition in 1952, his work was regularly shown at the Coard Gallery in Paris. From the 1990s, Lesieur's notoriety became international, resulting in further exhibitions in Japan and the United States. Some of his works are now housed in major museums such as the Center Pompidou, the Metropolitan Museum of Art and the Hiroshima Museum. Text in English and French.

When the First World War broke out, Morris Meredith Williams was living in Edinburgh with his wife Alice, a sculptor, and earning his living from book illustration and teaching. A short man, his attempt to join the army in 1914 failed, but six months later he was accepted by the 17th Battalion, The Welsh Regiment, the first Bantam battalion to be raised in Wales. From June 1916, he spent ten months in and out of the trenches of the Western Front near Loos, Arras and the Somme, later mapping enemy positions from aerial reconnaissance shots with the Heavy Artillery. In 1918 he joined the Royal Engineers' camouflage unit at Wimereux. After the peace, he was among a handful of artists kept back to make paintings for the official record and toured the shattered landscape in an old ambulance car. Never without a sketchbook and pencils in his pocket, he drew at every opportunity, producing an extraordinary record of his surroundings. After the war some of the sketches became oil paintings while others inspired a series of war memorials in bronze, stone, wood and stained glass, most notably for the Scottish National War Memorial, on which he and Alice worked together. In this stunning book, the Meredith Williams's art is displayed in fine style, ranging from the touching and heartfelt to the most brutal, stark images of the waste and loss of war.

Franz Kline spent years struggling to find a style for himself and then achieved "overnight success" with his dramatic black and white abstractions. They were, in fact, so successful that they overwhelmed every other aspect of Kline's art, and as a result he has been oversimplified and underestimated. Now, after nearly twenty years of research, Harry F. Gaugh has written the definitive volume on Kline, which provides the first comprehensive view of his life and work, and reveals how unexpectedly complex they both were.

Using interviews and correspondence with dozens of Kline's friends and critics, and quoting from the artist's own letters, the author has created an evocative portrait of Kline's evolution from an ambitious art student in Boston and London to a penniless Greenwich Village artist painting murals in bars just to pay the rent, and finally to a mature artist in command of his own unique and hard-won style. Kline made his initial, admittedly modest, reputation as a figurative artist, and rare photographs of that early work--sketches from life-drawing class, portraits of Nijinsky, scenes of the Pennsylvania countryside--offer an intriguing background for his later paintings. Not until his late thirties did Kline begin to develop an abstract mode, working his way through a series of strikingly dissimilar styles. Dr. Gaugh illuminates how talent, training, experimentation, the influence of fellow artists, and pure chance interacted to yield the famous black and white abstractions. When he died in 1962, Kline had begun exploring the potential of vibrant color, and the vivid full-color reproductions of his late paintings make poignantly clear how much the art world lost with hisdeath at the relatively young age of fifty-one.

With its detailed yet thoroughly readable text and 170 illustrations (many never before published) this comprehensive volume brings to light much new information about Kline and enriches the reader's appreciation and understanding of his art.

Other Details:
170 illustrations, 70 in full color. 9 x 11" trim size. First published 1985.

This exhibition celebrates the historic moment in the history of modern art when Kazimir Malevich debuted his new non-objective paintings under the banner of Suprematism and Vladimir Tatlin introduced his revolutionary counter-relief sculptures. They were bitter rivals and diametrically opposed in their creative thinking, so when an exhibition in which their new works appeared, entitled 0,10: The Last Futurist Exhibition of Painting and organized by fellow artist Ivan Puni in Petrograd in 1915, the other 12 artists in the show chose sides. It was a stylistically diverse exhibition, with cubist-inspired works and the first non-objective paintings and reliefs. The Beyeler's presentation will include a large number of the works from the original exhibition. The catalogue will include essays by exhibition curator Matthew Drutt and other leading scholars, as well as documents gathered together and translated for the first time. (German edition ISBN 978-3-7757-4032-6) Ausstellung/Exhibition: Fondation Beyeler, Riehen/Basel 4.10.2015-17.1.2016

American art underwent a transformation during the period 1940-55, and nowhere is that change better exemplified than in the work of Ralston Crawford (1906-1978). Crawford worked in a variety of media throughout his career, and his wartime and early postwar art ranged from designing camouflage and creating weather infographics for the US Army to documenting the detonation of the atomic bomb for Fortune magazine. This exciting new book explores Crawford's influences and the ideas and experiences he had during World War II and its aftermath, and chronicles a period of change, during which Crawford gradually moved away from celebrating feats of engineering and industrial development to creating imagery that was more abstract and far more personal, expressing the grief and anxiety of the postwar world. Crawford's painting during the 1930s had largely been a dazzling series of Precisionist works that reflected American advances in industry, engineering and technology. After the United States entered World War II, Crawford served in the Weather Division of the Army Air Forces. He created pictorial representations of weather patterns for airplane pilots, and was exposed to countless photographs of air crashes. He continued working as an artist throughout the conflict, receiving a commission to paint the Curtiss-Wright aircraft plant in Buffalo, New York, and, in 1946, an assignment to observe and record one of the atomic bomb tests at Bikini Atoll. These experiences had a profound impact on Crawford, and marked a major turning point in his life and art. Published to coincide with an exhibition opening at the Dayton Art Institute, Ralston Crawford: Air & Space & War presents a remarkable selection of Crawford's paintings, drawings, photographs and prints from this time. These vary from powerful images of chaos and devastation to ordered and precise paintings of airplane assembly at the Curtiss-Wright plant and cover illustrations and charts related to weather, flight and radar for Fortune magazine. The evolution of many of the works can be traced from photograph and drawing to the finished painting, revealing Crawford's decisions about form and space, which were informed by his experiences with airplanes and flight. Accompanying the artworks is a series of perceptive essays. Rick Kinsel considers Crawford's war years in the context of developments in both aviation and American art. Emily Schuchardt Navratil reflects on aerial views by Crawford and on his Curtiss-Wright commission. Amanda Burdan looks at Crawford's work for Fortune, while Jerry Smith surveys various American and European abstract renditions of airplanes and flight as a means by which to place Crawford's interest in aviation during World War II into a broader historical context. In the final essay, John Crawford examines the importance of photography in his father's work, and explores collage as both a compositional technique and as a term that may be used to describe the series of intense experiences that contributed to Crawford's development as an artist in the 1940s and early 1950s.