The newly revised and updated Charleston: A Bloomsbury House & Garden is the definitive publication on the Bloomsbury Group's rural outpost in the heart of the Sussex Downs. "It's absolutely perfect...", wrote the artist Vanessa Bell when she moved to Charleston in 1916. For fifty years, Vanessa and her fellow painter Duncan Grant lived, loved and worked in this isolated Sussex farmhouse, together transforming the house and garden into an extraordinary work of art and creating a rural retreat for the Bloomsbury group. Now, Vanessa's son, Quentin Bell, and her granddaughter Virginia Nicholson tell the inside story of their family home, linking it with some of the pioneering cultural figures who spent time there, including Vanessa's sister Virginia Woolf, the economist Maynard Keynes, the writer Lytton Strachey and the art critic Roger Fry. Taking readers through each room of the house - from Clive Bell's Study, the Dining Room, the Kitchen and the Garden Room, through to individual bedrooms, the Studios and the Library - Quentin Bell relives old memories, including having T.S. Eliot over for a dinner party and staging plays in the Studio, while Virginia Nicholson details the artistic techniques (stencilling, embroidery, painting, sculpture, ceramics and more) used to embellish and enliven the once simple farmhouse. In this refreshed edition of the original 1997 publication, Gavin Kingcombe's specially commissioned photographs breathe life into the colourful interiors and garden of the Sussex farmhouse, while updated text and captions by Virginia Nicholson capture the evolution of Charleston as it continues to inspire a new generation. For lovers of literature, decorative arts, and all things Bloomsbury, Charleston: A Bloomsbury House & Garden offers a window onto a truly unique creative hub.

The fascinating untold story of how Nazi architects and planners envisioned and began to build a model "Aryan" society in Norway during World War II Between 1940 and 1945, German occupiers transformed Norway into a vast construction zone. This remarkable building campaign, largely unknown today, was designed to extend the Greater German Reich beyond the Arctic Circle and turn the Scandinavian country into a racial utopia. From ideal new cities to a scenic superhighway stretching from Berlin to northern Norway, plans to remake the country into a model "Aryan" society fired the imaginations of Hitler, his architect Albert Speer, and other Nazi leaders. In Hitler's Northern Utopia, Despina Stratigakos provides the first major history of Nazi efforts to build a Nordic empire-one that they believed would improve their genetic stock and confirm their destiny as a new order of Vikings. Drawing on extraordinary unpublished diaries, photographs, and maps, as well as newspapers from the period, Hitler's Northern Utopia tells the story of a broad range of completed and unrealized architectural and infrastructure projects far beyond the well-known German military defenses built on Norway's Atlantic coast. These ventures included maternity centers, cultural and recreational facilities for German soldiers, and a plan to create quintessential National Socialist communities out of twenty-three towns damaged in the German invasion, an overhaul Norwegian architects were expected to lead. The most ambitious scheme-a German cultural capital and naval base-remained a closely guarded secret for fear of provoking Norwegian resistance. A gripping account of the rise of a Nazi landscape in occupied Norway, Hitler's Northern Utopia reveals a haunting vision of what might have been-a world colonized under the swastika.

This is the most thorough and detailed monograph on the artwork of Raymond Jonson. He is one of many artists of the first half of the twentieth-century who demonstrate the richness and diversity of an under-appreciated period in the history of American art. Visualizing the spiritual was one of the fundamental goals of early abstract painting in the years before and during World War I. Artists turned to alternative spirituality, the occult, and mysticism, believing that the pure use of line, shape, color, light and texture could convey spiritual insight. Jonson was steadfastly dedicated to this goal for most of his career and he always believed that modernist and abstract styles were the most effective and compelling means of achieving it.

Light as Experience and Imagination from Medieval to Modern Times synthesizes and interpretates the experience of light as revealed in a wide range of art and literature from medieval to modern times. The true subject of the book is making sense of the individual's relationship with light, rather than the investigation of light's essential nature. It tells the story of light "seducing" individuals from the Middle Ages to our modern times. Consequently, it is not concerned with the "progress" of scientific inquiries into the physical properties and behavior of light (optical science), but rather with subjective reactions as reflected in art, architecture, and literature. Instead of its evolution, this book celebrates the complexity of our relation to light's character. No individual experience of light being "truer" than any other.

"A Poiret dress, a Catholic shrine in France, Thomas Walliss Hoover Factory building, an Edna Manley sculpture, the poetry of Bei Dao, the internal combustion engine- what makes such artifacts modernist? Disciplining Modernism explores the different ways disciplines conceive modernism and modernity, undisciplining modernist studies in the process"--Provided by publisher.

Madrid on the move illustrates print culture and the urban experience in nineteenth-century Spain. It provides a fresh account of modernity by looking beyond its canonical texts, artworks, and locations and explores what being modern meant to people in their daily lives. Rather than shifting the loci of modernity from Paris or London to Madrid, this book decentres the concept and explains the modern experience as part of a more fluid, global phenomenon. Meanings of the modern were not only dictated by linguistic authorities and urban technocrats; they were discussed, lived, and constructed on a daily basis. Cultural actors and audiences displayed an acute awareness of what being modern entailed and explored the links between the local and the global, two concepts and contexts that were being conceived and perceived as inseparable. -- .

The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, Laszlo Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stolzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. "Bauhaus 1919-1933: Workshops for Modernity," published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), "Bauhaus 1919-1933" examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, "Bauhaus 1919-1933" includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.

Social groups formed around shared religious beliefs encountered significant change and challenges between the 1860s and the 1970s. This book is the first collection of essays of its kind to take a broad, thematically-driven case study approach to this genre of architecture and its associated visual culture and communal experience. Examples range from Nuns' holy spaces celebrating the life of St Theresa of Lisieux to utopian American desert communities and their reliance on the philosophy of Teilhard de Chardin. Modern religious architecture converses with a broad spectrum of social, anthropological, cultural and theological discourses and the authors engage with them rigorously and innovatively. As such, new readings of sacred spaces offer new angles and perspectives on some of the dominant narratives of the nineteenth, twentieth and twenty-first centuries: empire, urban expansion, pluralism and modernity. In a post-traditional landscape, religious architecture suggests expansive ways of exploring themes including nostalgia and revivalism; engineering and technological innovation; prayer and spiritual experimentation; and the beauty of holiness for a brave new world. Shaped by the tensions and anxieties of the modern era and powerfully expressed in the space and material culture of faith, the architecture presented here creates a set of new turning points in the history of the built environment.

This richly illustrated book details the wide-ranging construction and urban planning projects launched across Germany after the Nazi Party seized power. Hagen and Ostergren show that it was far more than just an architectural and stylistic enterprise. Instead, it was a series of interrelated programs intended to thoroughly reorganize Germany's economic, cultural, and political landscapes. The authors trace the specific roles of its component parts-the monumental redevelopment and cleansing of cities; the construction of new civic landscapes for educational, athletic, and leisure pursuits; the improvement of transportation, industrial, and military infrastructures; and the creation of networked landscapes of fear, slave labor, and genocide. Through distinctive examples, the book draws out the ways in which combinations of place, space, and architecture were utilized as a cumulative means of undergirding the regime and its ambitions. The authors consider how these reshaped spaces were actually experienced and perceived by ordinary Germans, and in some cases the world at large, as the regime intentionally built a new Nazi Germany.

This book explores how popular photography influenced the representation of travel in Britain in the period from the Kodak-led emergence of compact cameras in 1888, to 1939. The book examines the implications of people's increasing familiarity with the language and possibilities of photography on the representation of travel as educational concerns gave way to commercial imperatives. Sara Dominici takes as a touchstone the first fifty years of activity of the Polytechnic Touring Association (PTA), a London-based philanthropic-turned-commercial travel firm. As the book reveals, the relationship between popular photography and travel marketing was shaped by the different desires and expectations that consumers and institutions bestowed on photography: this was the struggle for the interpretation of the travel image.

Urban Modernity in the Contemporary Gulf offers a timely and engaging discussion on architectural production in the modernization era in the Arabian Peninsula. Focusing on the 20th century as a starting point, the book explores the display of transnational architectural practices resulting in different notions of locality, cosmopolitanism, and modernity. Contextually, with an eye on the present, the book reflects on the initiatives that recently re-engaged with the once ville moderne which, meanwhile, lost its pivotal function and meaning. A city within a bigger city, the urban fabric produced during the modernization era has the potential to narrate the social growth, East-West dynamics, and citizens' memories of the recent past. Reading obsolescence as an opportunity, the book looks into this topic from a cross-country perspective. It maps, reads and analyses the notion of modern heritage in relation to the contemporary city and looks beyond physical transformations to embrace cultural practices and strategies of urban re-appropriation. It interrogates the value of modern architecture in the non-West, examining how academic research is expanding the debate on Gulf urbanism, and describes how practices of reuse could foster rethinking neglected areas, also addressing land consumption in the GCC. Presenting a diverse and geographically inclusive authorship, which combines established and up-and-coming researchers in the field, this is an important reference for academics and upper-level students interested in heritage studies, post-colonial urbanism, and architecture in the non-West. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

The name De Stijl, title of a magazine founded in the Netherlands in 1917, is now used to identify the abstract art and functional architecture of its major contributors: Mondrian, Van Doesburg, Van der Leck, Oud, Wils and Rietveld. De Stijl achieved international acclaim by the end of the 1920s and its paintings, buildings and furniture made fundamental contributions to the modern movement. This book is the first to emphasize the local context of De Stijl and explore its relationship to the distinctive character of Dutch modernism. It examines how the debates concerning abstraction in painting and spatiality in architecture were intimately connected to contemporary developments in the fields of urban planning, advertising, interior design and exhibition design. The book describes the interaction between the world of mass culture and the fine arts.

The main character of this extraordinary graphic novel is not a person but an idea-the school of Bauhaus, which arose in the wake of World War I, and emerged as the fundamental reference point for virtually every avant-garde artistic movement that followed. Visually arresting illustrations and engaging texts place the novel's protagonist squarely in the middle of the twentieth-century debate on the relationship between technology and culture. The novel is divided into three chapters that trace the evolution of the Bauhaus, as its center moved across Germany-from Weimar to Dessau to Berlin-and as its philosophy responded to this economically, politically and intellectually highly charged era in Europe. Sergio Varbella's inventive drawings bring to life the theories of founder Walter Gropius, as well as the basic design ideals of unity and equity. Valentina Grande's thoughtful texts highlight crucial moments within the movement's history and in the lives of principal figures such as Klee, Kandinsky, Albers, and Mies van der Rohe. The perfect introduction to a radical but highly influential chapter in the history of design, this novel shows how the Bauhaus school broke down barriers and built up ideals that are still applied today.

This book examines the art of Cobra, a network of poets and artists from Copenhagen, Brussels, and Amsterdam (1948-1951). Although the name stood for the organizers' home cities, the Cobra artists hailed from countries in Europe, Africa, and the United States. This book investigates how a group of struggling young artists attempted to reinvent the international avant-garde after the devastation of the Second World War, to create artistic experiments capable of facing the challenges of postwar society. It explores how Cobra's experimental, often collective art works and publications relate to broader debates in Europe about the use of images to commemorate violent events, the possibility of free expression in an art world constrained by Cold War politics, the breakdown of primitivism in an era of colonial independence movements, and the importance of spontaneity in a society increasingly dominated by the mass media. This book will be of interest to scholars in art history, 20th-century modern art, avant-garde arts, and European history.

Reconsidering the status and meaning of Bauhaus objects in relation to the multiple re-tellings of the schoola (TM)s history, this volume positions art objects of the Bauhaus within the theoretical, artistic, historical, and cultural concerns in which they were produced and received.

Contributions from leading scholars writing in the field today - including Frederic J. Schwartz, Magdalena Droste, and Alina Payne - offer an entirely new treatment of the Bauhaus. Issues such as art and design pedagogy, the practice of photography, copyright law, and critical theory are discussed. Through a strong thematic structure, new archival research and innovative methodologies, the questions and subsequent conclusions presented here re-examine the history of the Bauhaus and its continuing legacy. Essential reading for anyone studying the Bauhaus, modern art and design.

This book complements the more textually-based Bauhaus scholarship with a practice-oriented and creative interpretive method, which makes it possible to consider Bauhaus-related works in an unconventional light. Edit Toth argues that focusing on the functionalist approach of the Bauhaus has hindered scholars from properly understanding its design work. With a global scope and under-studied topics, the book advances current scholarly discussions concerning the relationship between image technologies and the body by calling attention to the materiality of image production and strategies of re-channeling image culture into material processes and physical body space, the space of dimensionality and everyday activity.

A century after the Bauhaus's founding in 1919, this book reassesses it as more than a highly influential art, architecture, and design school. In myriad ways, emerging ideas about the body in relation to health, movement, gender, and sexuality were at the heart of art and life at the school. Bauhaus Bodies reassesses the work of both well-known Bauhaus members and those who have unjustifiably escaped scholarly scrutiny, its women in particular. In fourteen original, cutting-edge essays by established experts and emerging scholars, this book reveals how Bauhaus artists challenged traditional ideas about bodies and gender. Written to appeal to students, scholars, and the broad public, Bauhaus Bodies will be essential reading for anyone interested in modern art, architecture, design history, and gender studies; it will define conversations and debates during the 2019 centenary of the Bauhaus's founding and beyond.

This book examines the art of Cobra, a network of poets and artists from Copenhagen, Brussels, and Amsterdam (1948-1951). Although the name stood for the organizers' home cities, the Cobra artists hailed from countries in Europe, Africa, and the United States. This book investigates how a group of struggling young artists attempted to reinvent the international avant-garde after the devastation of the Second World War, to create artistic experiments capable of facing the challenges of postwar society. It explores how Cobra's experimental, often collective art works and publications relate to broader debates in Europe about the use of images to commemorate violent events, the possibility of free expression in an art world constrained by Cold War politics, the breakdown of primitivism in an era of colonial independence movements, and the importance of spontaneity in a society increasingly dominated by the mass media. This book will be of interest to scholars in art history, 20th-century modern art, avant-garde arts, and European history.