Torn Modernism illuminates an important moment in the history of the Kunstmuseum Basel's collection. In 1937 the Nazi cultural policy denounced thousands of works as "degenerate" and forcibly removed from German museums. The Third Reich's Ministry of Propaganda correctly assumed that a portion of such works would find buyers abroad, in this way certain artworks deemed "internationally exploitable" reached the art market via various channels. Georg Schmidt (1896-1966), the museum's director at the time, managed in 1939 to acquire the Painting Animal Destinies by Franz Marc (1880-1916) and twenty avant-garde masterpieces all at once. In the catalogue, renowned experts trace the events based on the seizures in German museums and explain the historical contexts. The actors of the institutions and the art market are presented, and the Nazi regime's act of cultural violence is revealed, which resulted in an artificial fragmentation of Modernism into art that was "exploitable" on the one hand, and art that had been destroyed or forgotten on the other. Contributions on the auction of the Galerie Fischer in Lucerne, on Georg Schmidt's approach, and on the classification of the acquisitions in the context of Basel's collection history bring specific Swiss aspects into focus.

Shadows and light, high drama and the supernatural, these elements are hallmarks of Henry Fuseli's paintings. Accom- panying a long-overdue show of Fuseli's works inspired by literary sources, this book addresses his appreciation of Greek tragedy, Shakespearian drama, and Milton's monumental verse epos Paradise Lost. While most of the criticism around Fuseli focuses on his nightmarish visions indicative of the emerging era of Dark Romanticism, this book examines the dramatic elements both in subject matter and style of his paintings, which include themes of triumph and despair rendered in sharp contrast and explosive expression. Illustrated with brilliant reproductions, the essays in this book explore Fuseli's world of literary sources as well as his new approach to the stage arts, and how the enthusiasm for Shakespeare in the 18th century played a part in the conception and marketing of Fuseli's work, thus creating a more comprehensive understanding of his background, time, and world view.

The Cubist Cosmos traces the development of Cubism between 1907 and 1917. The publication reveals the boundless innovative power of the works of Pablo Picasso and Georges Braque. It also shows how the Cubist pictorial language was received and advanced by the artists of the Parisian avant-garde – such as Fernand Léger and Sonia Delaunay – and how it evolved into colourful large-format pictures. The volume reflects not only the enormous range of this stylistic direction but also its revolutionary potential, which went on to influence the further development of twentieth-century art. In chronologically and thematically devised chapters the publication shows how the influence of folk art and archaic sculpture as well as the works of Paul Cezanne initially became increasingly evident in the paintings of Picasso and Braque. From 1908 crystalline, geometric elements as it were, appear. Until 1911 the characteristic prismatically fragmented forms and an almost colourless austerity dominated. The new pictorial language was taken up by artists like Juan Gris, Fernand Leger, Robert and Sonia Delaunay and Henri Le Fauconnier, who developed and presented it in large formats in the Salon exhibitions of the Paris art world.