'Does full justice to the remarkable achievements of an unlikely martyr' Mail on Sunday 'A fascinating study of a handful of the potential motivations behind violent political acts through the balanced examination of a remarkable woman' All About History Lady Constance Lytton (1869-1923) was the most unlikely of suffragettes. One of the elite, she was the daughter of a Viceroy of India and a lady in waiting to the Queen. She grew up in the family home of Knebworth and in embassies around the world. For forty years, she did nothing but devote herself to her family, denying herself the love of her life and possible careers as a musician or a reviewer. Then came a chance encounter with a suffragette. Constance was intrigued; witnessing Emmeline and Christabel Pankhurst on trial convinced her of the urgent necessity of votes for women and she went to prison for the cause as gleefully as any child going on a school trip. But, once jailed, Constance soon found that her name and her connections singled her out for unwelcome special treatment. By now, 1909, the suffragettes were hunger striking and the government had retaliated with force-feeding. The stories that began to leak out of bungled operations, of dirty tubes, of screams halfheard through brick walls, of straitjackets and handcuffs outraged the suffragettes. Constance decided on her most radical step yet: to go to prison in disguise. Taking the name Jane Warton, she cut her hair, put on glasses and ugly clothes and got herself arrested in Liverpool. Once in prison, she was force-fed eight times before her identity was discovered and she was released. Her case became a cause celebre, with debate raging in The Times and questions being asked in the House of Commons. Lady Constance Lytton became an inspiration and, in the end, a martyr. In this extraordinary new biography, Lyndsey Jenkins reveals for the first time the fascinating story of the woman who abandoned a life of privilege to fight for women s rights.

Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, it claims that stillness is nonetheless an essential tactic of modernist innovation. More specifically, the book looks at the ways in which photographic stillness emerges as a counterpoint to motion and to film, asserting its own clear visibility against the blur of kinesis. Photographic stillness becomes a means to resist the ephemerality of motion and to get at and articulate something real or essential by way of its fixed limits. Combining art history, film studies and literary studies, Louise Hornby reveals how photographers, filmmakers, and writers, even at their most kinetic, did not surrender attention to points of stillness. Rather, the still image, understood through photography, establishes itself as a mode of resistance and provides a formal response to various modernist efforts to see better, to attend more closely, and to remove the fetters of subjectivity and experience. Still Modernism brings together a series of canonical texts, films and photographs, the selection of which reinforces the central claim that stillness does not lurk at the margins of modernism, but was constitutive of its very foundations. In a series of comparisons drawing from literary and visual objects, Hornby argues that still photography allows film to access its own diffuse images of motion; photography's duplicative form provides a serial structure for modernist efforts to represent the face; its iterative structure articulates the jerky rhythms of experimental narrative as perambulation; and its processes of development allow for the world to emerge independent of the human observer. Casting new light on the relationship between photography and film, Hornby situates the struggle between the still and the kinetic at the center of modernist culture.

Vincent van Gogh becomes only 37 years old. Only the last 10 years of his life he is engaged in painting. Restlessly and exhausting he travels through the Netherlands, Belgium, Great Britain and France. Together with his colleagues Cezanne, Toulouse-Lautrec and Gauguin he is regarded today as one of the most important artists of the expressionism movement. This comic guide, written and drawn by Willi Bloss, catches the main marks of the master's life and refers optically to the unerring style that van Gogh used for his sketches

Arvey Foundation Book Award, Association for Latin American Art, 2018 Many Latin American artists and critics in the 1920s drew on the values of modernism to question the cultural authority of Europe. Modernism gave them a tool for coping with the mobility of their circumstances, as well as the inspiration for works that questioned the very concepts of the artist and the artwork and opened the realm of art to untrained and self-taught artists, artisans, and women. Writing about the modernist works in newspapers and magazines, critics provided a new vocabulary with which to interpret and assign value to the expanding sets of abstracted forms produced by these artists, whose lives were shaped by mobility. The Mobility of Modernism examines modernist artworks and criticism that circulated among a network of cities, including Buenos Aires, Mexico City, Havana, and Lima. Harper Montgomery maps the dialogues and relationships among critics who published in avant-gardist magazines such as Amauta and Revista de Avance and artists such as Carlos Merida, Xul Solar, and Emilio Pettoruti, among others, who championed esoteric forms of abstraction. She makes a convincing case that, for these artists and critics, modernism became an anticolonial stance which raised issues that are still vital today-the tensions between the local and the global, the ability of artists to speak for blighted or unincorporated people, and, above all, how advanced art and its champions can enact a politics of opposition.