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.

A curated list of more than 250 must-see destinations organized geographically from Maine to Florida

Featuring architecture by some of the biggest Mid-Century names, including Mies van der Rohe, Marcel Breuer, Eero Saarinen, and Philip Johnson, each of the more than 250 buildings is located on a regional map. The book includes all the additional information needed to find and visit each building.

Its cool and functional design makes this book a coveted Modernist-style object in itself.

Including icons from The Met Breuer to the fabulous beach houses of Fire Island, private homes in Connecticut, Manhattan skyscrapers, and the Tropical Modern residences of Sarasota, Florida, it is a must-have guide to one of the most fertile and lesser-known regions for the development of Mid-Century Modern architecture.

From the publisher of Mid-Century Modern Architecture Travel Guide: West Coast USA.

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.

Vincent van Gogh's Sunflowers are seen by many as icons of Western European art. Two of these masterpieces - the first version painted in August 1888 (The National Gallery, London) and the painting made after it in January 1889 (Van Gogh Museum, Amsterdam) - have been the subject of a detailed comparison by an interdisciplinary team of experts. The pictures were examined in unprecedented depth using a broad array of techniques, including state-of-the-art, non-invasive imaging analytical methods, to look closely at and under the paint surface. Not only the making, but also the subsequent history of the works was reconstructed, including later campaigns of restoration. The study's conclusions are set out in this book, along with the fascinating genesis of the paintings and the sunflower's special significance to Van Gogh. More than 30 authors, all specialists in the field of conservation, conservation science and art history, have contributed to the research and publication presenting the outcomes of this unique project.

The first major work to examine Joseph Cornell's relationship to American modernism Joseph Cornell (1903-1972) is best known for his exquisite and alluring box constructions, in which he transformed found objects-such as celestial charts, glass ice cubes, and feathers-into enchanted worlds that blur the boundaries between fantasy and the commonplace. Situating Cornell within the broader artistic, cultural, and political debates of midcentury America, this innovative and interdisciplinary account reveals enchantment's relevance to the history of American modernism. In this beautifully illustrated book, Marci Kwon explores Cornell's attempts to convey enchantment-an ephemeral experience that exceeds rational explanation-in material form. Examining his box constructions, graphic design projects, and cinematic experiments, she shows how he turned to formal strategies drawn from movements like Transcendentalism and Romanticism to figure the immaterial. Kwon provides new perspectives on Cornell's artistic and graphic design career, bringing vividly to life a wide circle of acquaintances that included artists, poets, writers, and filmmakers such as Mina Loy, Lincoln Kirstein, Frank O'Hara, and Stan Brakhage. Cornell's participation in these varied milieus elucidates enchantment's centrality to midcentury conversations about art's potential for power and moral authority, and reveals how enchantment and modernity came to be understood as opposing forces. Leading contemporary artists such as Betye Saar and Carolee Schneemann turned to Cornell's enchantment as a resource for their own anti-racist, feminist projects. Spanning four decades of the artist's career, Enchantments sheds critical light on Cornell's engagement with many key episodes in American modernism, from Abstract Expressionism, 1930s "folk art," and the emergence of New York School poetry and experimental cinema to the transatlantic migration of Symbolism, Surrealism, and ballet.

These in-depth, historical, and critical essays study the meaning of ornament, the role it played in the formation of modernism, and its theoretical importance between the mid-nineteenth century and the late twentieth century in England and Germany. Ranging from Owen Jones to Ernst Gombrich through Gottfried Semper, Alois Riegl, August Schmarsow, Wilhelm Worringer, Adolf Loos, Henry van de Velde, and Hermann Muthesius, the contributors show how artistic theories are deeply related to the art practice of their own times, and how ornament is imbued with historical and social meaning.

Forty five key women of the Bauhaus movement.

Bauhaus Women: A Global Perspective reclaims the other half of Bauhaus history, yielding a new understanding of the radical experiments in art and life undertaken at the Bauhaus and the innovations that continue to resonate with viewers around the world today.

The story of the Bauhaus has usually been kept narrow, localized to its original time and place and associated with only a few famous men such as Walter Gropius, Marcel Breuer, Paul Klee, Wassily Kandinsky, and László Moholy-Nagy.

Bauhaus Women: A Global Perspective bursts the bounds of this slim history by revealing fresh Bauhaus faces: Forty-five Bauhaus women unjustifiably forgotten by most history books. This book also widens the lens to reveal how the Bauhaus drew women from many parts of Europe and beyond, and how, through these cosmopolitan female designers, artists, and architects, it sent the Bauhaus message out into the world and to a global audience.

The extraordinary story of Isokon, a groundbreaking Modernist building in London, and how its network of residents helped shape Modern Britain.

In the mid-1930s, three giants of the international Modern movement, Bauhaus professors Walter Gropius, Marcel Breuer and Laszlo Moholy-Nagy, fled Nazi Germany and sought refuge in Hampstead in the most exciting new apartment block in Britain. The Lawn Road Flats, or Isokon building (as it came to be known), was commissioned by the young visionary couple Jack and Molly Pritchard and designed by aspiring architect Wells Coates. Built in 1934 in response to the question `How do we want to live now?' it was England's first modernist apartment building and was hugely influential in pioneering the concept of minimal living. During the mid-1930s and 1940s its flats, bar and dining club became an extraordinary creative nexus for international artists, writers and thinkers. Jack Pritchard employed Gropius, Breuer and Moholy-Nagy in his newly formed Isokon design company and the furniture, architecture and graphic art the three produced for him and other clients during their brief sojourn in pre-war England helped shape Modern Britain.

This book tells the story of the Isokon, from its beginnings to the present day, and fully examines the work, artistic networks and legacy of the Bauhaus artists during their time in Britain. The tales are not just of design and architecture but war, sex, death, espionage and the infamous dinner parties. Isokon resident Agatha Christie features in the book, as does Charlotte Perriand, working for Le Corbusier's practice, who Jack Pritchard commissioned for a pavilion design in 1930.

The book is beautifully illustrated with archive photography much of which is previously unseen and includes the work of photographer and Soviet spy Edith Tudor-Hart, as well as plans and sketches, menus, postcards and letters from the Pritchard family archive.

In Spring 2018, the Isokon building and Breuer, Gropius and Moholy-Nagy were honoured with a Blue Plaque from English Heritage. 2019 marks the centenary of the foundation of the Bauhaus, so the book is a timely celebration of European design.

The artists of the Organic School of the Russian avant-garde found inspiration as well as a model for artistic growth in the creative principles of nature. Isabel Wunsche analyzes the artistic influences, intellectual foundations, and scientific publications that shaped the formation of these artists, the majority of whom were based in St. Petersburg. Particular emphasis is given to the holistic worldviews and organic approaches prevalent among artists of the pre-revolutionary avant-garde, specifically Jan Ciaglinski, Nikolai Kulbin, and Elena Guro, as well as the emergence of the concept of Organic Culture as developed by Mikhail Matiushin, practiced at the State Institute of Artistic Culture, and taught at the reformed Art Academy in the 1920s. Discussions of faktura and creative intuition explore the biocentric approaches that dominated the work of Pavel Filonov, Kazimir Malevich, Voldemar Matvejs, Olga Rozanova, and Vladimir Tatlin. The artistic approaches of the Organic School of the Russian avant-garde were further promoted and developed by Vladimir Sterligov and his followers between 1960 and 1990. The study examines the cultural potential as well as the utopian dimension of the artists' approaches to creativity and their ambitious visions for the role of art in promoting human psychophysiological development and shaping post-revolutionary culture.

Art Nouveau developed a new, international style in architecture and handicrafts from the 1880s onward, which sought to replace the forms of historicism with plant ornamentation and functional construction. This comprehensive reform of the arts produced rich floral ornaments in Paris and Brussels and became an expression of national identity in Barcelona. This volume illuminates the origins of this current and its manifestations in France, Belgium, and Spain.

A new look at the interrelationship of architecture and sculpture during one of the richest periods of American modern design Alloys looks at a unique period of synergy and exchange in the postwar United States, when sculpture profoundly shaped architecture, and vice versa. Leading architects such as Gordon Bunshaft and Eero Saarinen turned to sculptors including Harry Bertoia, Alexander Calder, Richard Lippold, and Isamu Noguchi to produce site-determined, large-scale sculptures tailored for their buildings' highly visible and well-traversed threshold spaces. The parameters of these spaces-atriums, lobbies, plazas, and entryways-led to various designs like sculptural walls, ceilings, and screens that not only embraced new industrial materials and processes, but also demonstrated art's ability to merge with lived architectural spaces. Marin Sullivan argues that these sculptural commissions represent an alternate history of midcentury American art. Rather than singular masterworks by lone geniuses, some of the era's most notable spaces-Philip Johnson's Four Seasons Restaurant in Mies van der Rohe's Seagram Building, Max Abramovitz's Philharmonic Hall at Lincoln Center, and Pietro Belluschi and Walter Gropius's Pan Am Building-would be diminished without the collaborative efforts of architects and artists. At the same time, the artistic creations within these spaces could not exist anywhere else. Sullivan shows that the principle of synergy provides an ideal framework to assess this pronounced relationship between sculpture and architecture. She also explores the afterlives of these postwar commissions in the decades since their construction. A fresh consideration of sculpture's relationship to architectural design and functionality following World War II, Alloys highlights the affinities between the two fields and the ways their connections remain with us today.

9 lectures in various cities, April 1915-June 1920 (CW 288) The planning, construction, and execution of the functional work of art that was the First Goetheanum was an endeavor that occupied Rudolf Steiner for the better part of seven years. Every detail, from the seemingly small--such as the shape and feel of the door handles--to the grand motifs of the paintings on the ceilings of the cupolas and the building's intended sculptural centerpiece, was lovingly designed to meet and inspire the individual human beings who would some day encounter it, not with didactic symbolism, but with the transparent reality of the spiritual foundation of humanity and the world, and the open possibility to both know this spiritual foundation and to work with it practically and artistically for the good of all. The lectures in this volume--accompanied by reproductions of more than a hundred slides--were heard by various audiences as the building neared completion and before it was destroyed by fire. The text is complemented with a foreword by the esteemed architect Douglas J. Cardinal, as well as an important and revelatory Introductory essay by David Adams: "The Form-Function Relationship in Architecture and Nature: Organic and Inorganic Functionalism." This volume of The Collected Works of Rudolf Steiner is essential reading for anyone who wants to gain a deeper understanding of the artistic motivation of Rudolf Steiner as an artist and architect, while also clearing up many of the misunderstandings that the building and its sculptural and painted components have inevitably given rise to, both then and now. C O N T E N T S Foreword by Douglas J. Cardinal Introduction by David J. Adams: "The Form-Function Relationship in Architecture and Nature: Organic and Inorganic Functionalism" 1. A House for Spiritual Science: The Form of the Building in Dornach 2. Misunderstandings of Spiritual Research and the Building Devoted to It in Dornach 3. Architectural Forms as Cosmic Thoughts and Feelings 4. The Architecture, Sculpture, and Painting of the First Goetheanum (3 lectures) 5. The Hieroglyphics of the Building in Dornach (2 lectures) 6. The Goetheanum in Dornach Appendix: On the Building in Dornach This book is translated from the German edition Architektur, Plastik und Malerei des ersten Goetheanum: Neun Vortrage, gehalten an verschiedenen Orten zwischen dem 10. April 1915 und dem 12. Juni 1920, herausgegeben aufgrund von stenographischen, teilweise von Rudolf Steiner korrigierten Nachschriften.

Ideal homes investigates the tastes and aspirations of the new suburban communities that emerged in Britain following the First World War. In a period when homeownership was becoming the norm, these communities sought out varieties of architecture and design that were both nostalgic and modern, reflecting longings for 'Old England' on the one hand and technological convenience on the other. The book draws on exhibitions, memoirs, advertisements and films, as well as surviving examples of suburban architecture and interiors, to identify a distinctively suburban modernism, embodied by the Tudorbethan semi. Arguing that the 'ideal' home of the period was both a retreat from the outside world and a site of change and experimentation, it concludes by considering how such houses are lived in today. This new edition also features an introductory chapter on researching the history of your own home. -- .

In 1940, America's favorite illustrator Norman Rockwell, his wife Mary and their three sons moved to the picturesque rural village of West Arlington, Vermont. The artist discovered a treasure trove of models. Norman Rockwell's Models: In and out of the Studio is the first to detail these models' lives, friendships with the artist, and experiences in his studio. Dressed in quaint work clothing, the models were dairy farmers, carpenters, country doctors, soldiers, and mechanics. Norman Rockwell's Models features non-fiction narratives telling the story of these folks during an era when they helped the war effort, farmed with horses, and received home visits from doctors. The book also describes the challenges the models faced in their own lives and how these affected their expressions in the paintings. For example, in several 1945 masterpieces, the jubilance Americans felt after the close of the second word war is revealed in their faces. Upon meeting people, young or old, the artist would say, "Call Me Norman." Rockwell learned the models' roles in the community and their personalities, which fostered genuine paintings. He strove, for example, to find real-life soldiers to model as WWII heroes and spirited boys and girls for lively paintings. In the studio, Norman was charming and polite, but painstaking. He demonstrated poses and did whatever was necessary to evoke his trademark expressions, including telling stories of his own life, sometimes laughing or crying. Spending entire summers at his family's farmhouse near West Arlington, Vermont, the author, S.T. Haggerty, grew up knowing many models, including those who posed for such iconic works as Freedom of Speech, Breaking Home Ties, and Girl at the Mirror. Along with models and their families, the author hayed the scenic fields in the Batten Kill River Valley and swam under the red covered bridge on the Village Green. This experiences give him a unique perspective for telling this story.

The production of this book stems from two of the editors' longstanding research interests: the representation of architecture in print media, and the complex identity of the second phase of modernism in architecture given the role it played in postwar reconstruction in Europe. While the history of postwar reconstruction has been increasingly well covered for most European countries, research investigating postwar architectural magazines and journals across Europe - their role in the discourse and production of the built environment and particularly their inter-relationship and differing conceptions of postwar architecture - is relatively undeveloped. Modernism and the Professional Architecture Journal sounds out this territory in a new collection of essays concerning the second phase of the reception and assimilation of modernism in architecture, as it was represented in professional architecture journals during the period of postwar reconstruction (1945-1968). Professional architecture journals are often seen as conduits of established facts and knowledge. The role mainstream publications play, however, in establishing 'movements', 'trends' or 'debates' tends to be undervalued. In the context of the complex undertaking of postwar reconstruction, the shortage of resources, political uncertainty and the biographical complexities of individual architects, the chapters on key European architecture journals collected here reveal how modernist architecture, and its discourse, was perceived and disseminated in different European countries.

Alexey Shchusev (1873-1949) was one of the most celebrated architects of the Soviet Union, famous for Lenin's Mausoleum in Moscow. Not only a gifted designer of many prominent buildings, his career was quite unique and closely intertwined with the turbulent course of Russian and Soviet history. He was one of the very few architects who managed to rise to the top of the architectural hierarchy under the tsars and then to repeat this success under Soviet rule. Already before the Revolution of 1917, Shchusev was an acclaimed Revivalist architect, wellknown for his church designs and Moscow's Kazan Station. In the 1920s, he became a renowned Constructivist. Following the official renunciation of Avant-Garde architecture ordered by Stalin, Shchusev swiftly became an advocate of Socialist Classicism, designing many projects in the dictator's favoured Empire Style in order to satisfy the Stalinist state's needs for monumental representation. Combining a scholarly study of Shchusev's career with stunning photographs this book traces the development of this artistically and politically gifted architect through the architectural and historical changes in the first half of the twentieth century.

The Grosvenor School of Modern Art was founded by the influential teacher, painter and wood-engraver, Iain McNab, in 1925. Situated in London's Pimlico district the school played a key role in the story of modern British printmaking between the wars. The Grosvenor School artists received critical acclaim in their time that continued until the late 1930s under the influence of Claude Flight who pioneered a revolutionary method of making the simple linocut to dynamic and colourful effect. Cyril Power, a lecturer in architecture at the school, and Sybil Andrews, the School Secretary, were two of Flight's star students. Whilst incorporating the avant-garde values of Cubism, Futurism and Vorticism, the Grosvenor School printmakers brought their own unique interpretation of the contemporary world to the medium of linocut in images that are strikingly familiar to this day and are included in the print collections of the world's major museums, including the British Museum, the MoMA New York and the Australian National Gallery.

This new book which accompanies an exhibition at Dulwich Picture Gallery illustrates over 120 linocuts, drawings and posters by Grosvenor School artists and its thematic layout focuses on the key components which made up their dynamic and rhythmic visual imagery. For the first time, three Australian printmakers, Dorrit Black, Ethel Spowers and Eveline Syme - who played a major part in the Grosvenor School story - are included in a major museum exhibition outside of Australia.