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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Design styles > Modernist design & Bauhaus
Jugendstil, that is Germany's distinct engagement with the
international Art Nouveau movement, is now firmly engrained in
histories of modern art, architecture and design. Recent
exhibitions and publications across the world explored Jugendstil's
key protagonists and artistic centres to firmly anchor their
activities within the trajectories of German modernism. Women,
however, continue to be largely absent from these revisionist
accounts. Jugendstil Women and the Making of Modern Design argues
that women in fact actively participated in the cultural and
socio-economic exchanges that generated German design responses to
European modernity. By drawing on previously unpublished archival
material and a series of original case studies including Elsa
Bruckmann's Munich salon, the Photo Studio Elvira and the Debschitz
School, the book explores women's important contributions to modern
German culture as collectors, consumers, critics, designers,
educators, and patrons. This book offers a new interpretation of
this vibrant period by considering diverse manifestations of
historical female agency that pushed against historically
entrenched conventions and gender roles. The book's rigorous
approach reshapes Jugendstil historiography by positing women's
lived experiences against dominant ideologies that emerged at this
precise moment. In short, the book advocates women as an integral
part of the emergence, dissemination and reception of Jugendstil
and questions the deeply gendered histories of this key period in
modern art, architecture and design.
This volume situates the work of American poet Charles Olson
(1910-1970) at the centre of the early post-war American
avant-garde. It shows Olson to have been one of the major advocates
and theorists of American modernism in the late 1940s and early
1950s; a poet who responded fully and variously to the political,
ethical, and aesthetic urgencies driving innovation across
contemporary American art. Reading Olson's work alongside that of
contemporaries associated with the New York Schools of painting and
music (as well as the exiled Frankfurt School), the book draws on
Olson's published and unpublished writings to establish an original
account of early post-war American modernism. The development of
Olson's work is seen to illustrate two primary drivers of formal
innovation in the period: the evolution of a new model of political
action pivoting around the radical individual and, relatedly, a
powerful new critique of instrumental reason and the Enlightenment
tradition. Drawing on extensive archival research and featuring
readings of a wide range of artists including, prominently, Barnett
Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage,
Charles Olson and American Modernism offers a new reading of a
major American poet and an original account of the emergence of
post-war American modernism.
For a long time only slightly noticed, modernist movements in
Chinese art history are gaining more and more recognition. One of
its key fi gures is Ting Yin Yung, whose art is essential to
understanding Western-style art in China. Ting was one of the fi
rst to turn to his own cultural history to inform the Western-style
paintings he and others aspired to master, primarily to breathe
life into what many considered a stagnant art tradition. It is
difficult to gauge the full extent of Ting's impact and influence
on modern and contemporary Chinese art, but this comprehensive
catalogue raisonne of his oil paintings brings us in a position to
see how his vision, through both his art and his teachings,
inspired and nurtured many.
The Art of Football is a singular look at early college football
art and illustrations. This collection contains more than two
hundred images, many rare or previously unpublished, from a variety
of sources, including artists Winslow Homer, Edward Penfield, J. C.
Leyendecker, Frederic Remington, Charles Dana Gibson, George
Bellows, and many others. Along with the rich art that captured the
essence of football during its early period, Michael Oriard
provides a historical context for the images and for football
during this period, showing that from the beginning it was
perceived more as a test of courage and training in manliness than
simply an athletic endeavor. Oriard's analysis shows how these
early artists had to work out for themselves-and for readers-what
in the new game should be highlighted and how it should appear on
the page or canvas. The Art of Football takes modern readers back
to the day when players themselves were new to the sport, and
illustrators had to show the public what the new game of football
was. Oriard demonstrates how artists focused on football's dual
nature as a grueling sport to be played and as a social event and
spectacle to be watched. Through its illustrations and words The
Art of Football gives readers an engaging look at the earliest
depictions of the game and the origins of the United States as a
football nation.
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Adventure in Art
(Hardcover)
Lucy Carrington Wertheim; Contributions by Towner Gallery
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R1,089
Discovery Miles 10 890
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Ships in 12 - 19 working days
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In 1930 pioneering female gallerist Lucy Wertheim opened The
Wertheim Gallery in London. Wertheim challenged the established art
scene conventions; she was a woman without formal art training,
driven by intuition and a belief that young British artists should
have the same opportunities as their European counterparts.
Adventure in Art is Lucy's 1947 autobiography, telling the story of
her career in the British Modernist era. Republished by Unicorn to
coincide with the forthcoming Towner Eastbourne exhibition, A Life
in Art: Lucy Wertheim & Reuniting the Twenties Group (Summer
2022), this book brings to a contemporary audience the trials and
tribulations of a key participant in the male-dominated art world
in the first half of the twentieth century. Lucy Wertheim's
discerning eye and business acumen helped to propel big names such
as Christopher Wood, Alfred Wallis, Cedric Morris, Henry Moore and
Frances Hodgkins into the mainstream. With three commissioned
essays - the first by Frances Spalding (Lucy Wertheim - Her Gallery
in Context); the second by Ariane Banks (Lucy Wertheim - A
Pioneering Woman and Her Contemporaries); the third by Towner's
Collections & Exhibitions Curator, Karen Taylor (Lucy Wertheim
- Her 'Forty-One Year Experiment' [1930-71]) - this new edition not
only brings Lucy Carrington Wertheim's words and deeds back into
our conscience, but it also publishes over 70 artworks, many of
which are featured in the Towner exhibition, as well as newly
photographed ephemera from the Estate's extensive archive.
Together, this exhibition and book will significantly reset the
accepted narrative, and shine a light on a neglected corner of
mid-twentieth century art history.
In a fleeting 14-year period between two world wars, Germany's
Bauhaus School of Art and Design changed the face of modernity.
With utopian ideas for the future, the school developed a
pioneering fusion of fine art, craftsmanship, and technology, which
they applied across media and practices from film to theater,
sculpture to ceramics. This book is made in collaboration with the
Bauhaus-Archiv/Museum fur Gestaltung in Berlin, the world's largest
collection on the history of the Bauhaus. Some 550 illustrations
including architectural plans, studies, photographs, sketches, and
models record not only the realized works but also the leading
principles and personalities of this idealistic creative community
through its three successive locations in Weimar, Dessau, and
Berlin. From informal shots of group gymnastics to drawings guided
by Paul Klee, from extensive architectural plans to an infinitely
sleek ashtray by Marianne Brandt, the collection brims with the
colors, materials, and geometries that made up the Bauhaus vision
of a "total" work of art. As we approach the Bauhaus centennial,
this is a defining account of its energy and rigor, not only as a
trailblazing movement in modernism but also as a paradigm of art
education, where creative expression and cutting-edge ideas led to
simultaneously functional and beautiful creations. Featured artists
include Josef Albers, Marianne Brandt, Walter Gropius, Gertrud
Grunow, Paul Klee, Ludwig Mies van der Rohe, and Lilly Reich.
In less than half a century, the Socialist Federal Republic of
Yugoslavia successfully defeated Fascist occupation, fended off
dominating pressures from the Eastern and Western blocs, built a
modern society on the ashes of war, created its own form of
socialism, and led the formation of the Nonaligned Movement. This
country's principles and its continued battles, fought against all
odds, provided the basis for dynamic and exceptional forms of art.
Drawing on archival materials, postcolonial theory, and Eastern
European socialist studies, Nonaligned Modernism chronicles the
emergence of late modernist artistic practices in Yugoslavia from
the end of the Second World War to the mid-1980s. Situating
Yugoslav modernism within postcolonial artistic movements of the
twentieth century, Bojana Videkanic explores how cultural workers
collaborated with others from the Global South to create
alternative artistic and cultural networks that countered Western
hegemony. Videkanic focuses primarily on art exhibitions along with
examples of international cultural exchange to demonstrate that
nonaligned art wove together politics and aesthetics, and
indigenous, Western, and global influences. An interdisciplinary
book, Nonaligned Modernism highlights Yugoslavia's key role in the
creation of a global modernist ethos and international postcolonial
culture.
The photography of Julius Shulman (1910-2009) transported a West
Coast dream around the world. His images of midcentury Southern
Californian architecture captured not only the distinctive
structural, functional, and design elements of a building but also
the context of its surroundings and inhabitants in a holistic,
evocative sense of lifestyle. Over time, Shulman's talents would
take him around the world, steadily crafting one of the most
compelling chronologies of modern architecture. Offering an immense
cultural cache for an even lower price, this fresh edition of
TASCHEN's Modernism Rediscovered features over 400 architectural
treasures from the Shulman archives. Each project and photograph
was personally selected from over 260,000 photographs by publisher
Benedikt Taschen, who enjoyed a close relationship with Shulman and
his work since first publishing Julius Shulman: Architecture and
Its Photography (1998). Documenting the reach of modernist
aesthetics, the projects span not only the West Coast but also the
rest of the United States, as well as Mexico, Israel, and Hong
Kong, all captured with Shulman's characteristic understanding of
space and situation, as well as his brilliant and intuitive sense
of composition. The pictures are contextualized with an
introduction by photography critic Owen Edwards, an extensive
biography by University of Southern California historian Philip J.
Ethington, captions on decorative elements by Los Angeles Modern
Auctions founder Peter Loughrey, and biographies of key architects.
In addition, the book includes personal reflections from Shulman
himself, with an oral history and portrait of the period crafted
via months of interviews with arts writer Hunter Drohojowska-Philp.
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