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The early twentieth century is usually remembered as an era of
rising nationalism and military hostility, culminating in the
disaster of the First World War. Yet it was marked also by a
vigorous campaign against war, a movement that called into question
the authority of the nation-state. This book explores the role of
artists and writers in the formation of a modern, secular peace
movement in Britain, and the impact of ideas about "positive peace"
on their artistic practice. From Grace Brockington's meticulous
study emerges a rich and interconnected world of Hellenistic dance,
symbolist stage design, marionettes, and book illustration,
produced in conscious opposition to the values of an increasingly
regimented and militaristic society, and radically different from
existing narratives of British wartime culture. Published for the
Paul Mellon Centre for Studies in British Art
Of Modernism presents original research by ten contemporary
scholars of modern art. By turns provocative, insightful and
informative, these essays – written in honour of the eminent
British art historian Christopher Green – rethink some of the
crucial artworks, problems and practitioners of European high
modernism, from Les Demoiselles d’Avignon to Guernica,
avant-gardism to internationalism, Joan Miró to Ludwig Mies Van
der Rohe. Professor Christopher Green has made an outstanding
contribution to the historiography of European modernism. As a
teacher at the Courtauld Institute, his wide-ranging scholarship
and generosity of mind have inspired several generations of
students, many of whom have gone on to lead distinguished careers
in the worlds of art and academia. Of Modernism is a collection
written in his honour. Questions about modernism shape the ten
essays presented here, explicitly or otherwise, and they come in as
many different shapes. However, the subject-matter is predominantly
European (which still includes Britain at the time of writing!);
the method is historical, true to Chris’s conviction that ‘the
work of an artist is, in its largest sense, inseparable from
history thought of in its largest sense’; and finally, the canon
is open, situating Picasso – a theme in the collection –
alongside artists far more obscure, and in the context of a visual
culture which is strikingly eclectic and often ephemeral. The ten
contributors to this collection – Fae Brauer, Grace Brockington,
Penelope Curtis, Linda Goddard, Nancy Ireson, William Jeffett,
Silvia Loreti, C.F.B. Miller, Gavin Parkinson and Sarah Victoria
Turner – all studied with Chris as postgraduates at the
Courtauld, and several have also collaborated with him as curators.
They have all moved on to distinguished careers worldwide, ranging
from critics and historians to eminent professors and museum
professionals.
This sumptuously illustrated volume, edited by eminent war
historian Joanna Bourke, offers a comprehensive visual, cultural
and historical account of the ways in which armed conflict has been
represented in art. Covering the last two centuries, the book shows
how the artistic portrayal of war has changed, from a celebration
of heroic exploits to a more modern, truthful depiction of warfare
and its consequences. Featuring illustrations by artists including
Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis
Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora
Meeson, Otto Dix and many others, as well as those who are often
overlooked, such as children, women, non-European artists and
prisoners of war, this extensive survey is a fitting and timely
contribution to the understanding, memory and commemoration of war,
and will appeal to a wide audience interested in warfare, art,
history or politics. Introduction by Joanna Bourke, with essays by
Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington,
James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough,
Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski,
Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John
Schofield, John D. Szostak, Sarah Wilson and Jay Winter.
This collection of essays stems from the conference
'Internationalism and the Arts: Anglo-European Cultural Exchange at
the Fin de Siecle' held at Magdalene College, Cambridge, in July
2006. The growth of internationalism in Europe at the fin de siecle
encouraged confidence in the possibility of peace. A wartorn
century later, it is easy to forget such optimism. Flanked by the
Franco-Prussian war and the First World War, the late nineteenth
and early twentieth centuries were marked by rising militarism.
Themes of national consolidation and aggression have become key to
any analysis of the period. Yet despite the drive towards political
and cultural isolation, transnational networks gathered increasing
support. This book examines the role played by artists, writers,
musicians and intellectuals in promoting internationalism. It
explores the range of individuals, media and movements involved,
from cosmopolitan characters such as Walter Sickert and Henri La
Fontaine, through internationalist art societies, to periodicals,
performance, and the mobility of the Arts and Crafts Movement. The
discussion takes in the geographical breadth of Europe,
incorporating Belgium, Bohemia, Britain, France, Germany, Hungary,
Italy, Norway, Poland, Russia and Slovakia. Drawing on the work of
scholars from across Europe and America, the collection makes a
statement about the complexity of European identities at the fin de
siecle, as well as about the possibilities for interdisciplinary
research in our own era.
The period from the 1870s to the 1920s was marked by an interplay
between nationalisms and internationalisms, culminating in the
First World War, on the one hand, and the creation of the League of
Nations, on the other. The arts were central to this debate,
contributing both to the creation of national traditions and to the
emergence of ideas, objects and networks that forged connections
between nations or that enabled internationalists to imagine a
different world order altogether. The essays presented here explore
the ways in which the arts operated internationally during this
crucial period of nation-making, and how they helped to challenge
national conceptions of citizenship, society, homeland and native
tongue. The collection arises from the AHRC-funded research network
Internationalism and Cultural Exchange, 1870-1920 (ICE; 2009-2014)
and its enquiry into the histories of cultural internationalism and
their historiographical implications. This collection has been
edited by members of the ICE network convened by Grace Brockington
and Sarah Victoria Turner.
The Nobile Index is a series of monographic publications of art
sales prices achieved at auction, for a selection of leading
20th-century British artists. They involve the collaboration of a
commercial art dealership, Piano Nobile Works of Art and the
University at Bristol's History of Art Department; bringing
together academic and commercial expertise on the artists for the
benefit of those with an interest in their work. They are funded by
the generosity of a private benefactor. The studies are confined to
analyses of auction results over the last 20 years. Although
largely from UK sales, data supplied by international salerooms are
also included. Graphs and interpretations of these figures are
analysed and significant trends and buying patterns revealed. It is
envisaged that this data will be of growing value to private and
corporate clients, museums and fine art funds. Accurate commercial
appraisal has always played an important role in the consideration
of new acquisitions throughout the history of art. No more so than
today is this seen with the fluctuating, but ever more significant
rise in value commanded by the best of many 20th-century artists'
work. This publication, written by Dr Louise Hughes during the
course of her doctoral studies at the University of Bristol, makes
a significant contribution to the scholarship on David Bomberg, the
important twentieth-century British Vorticistm, war artist and
modernist. Dr Hughes establishes for the first time a relationship
between his fortunes in the auction houses and the fluctuations in
his critical reception. Auctioning David Bomberg: A Sales History
1990-2010 consists of an introduction, results and analaysis, and a
booklet with corresponding appendices.
The Nobile Index is a series of monographic publications of art
sales prices achieved at auction, for a selection of leading
20th-century British artists. They involve the collaboration of a
commercial art dealership, Piano Nobile Works of Art and the
University at Bristol's History of Art Department; bringing
together academic and commercial expertise on the artists for the
benefit of those with an interest in their work. They are funded by
the generosity of a private benefactor. The studies are confined to
analyses of auction results over the last 21 years. Although
largely from UK sales, data supplied by international salerooms are
also included. Graphs and interpretations of these figures are
analysed and significant trends and buying patterns revealed. It is
envisaged that this data will be of growing value to private and
corporate clients, museums and fine art funds. Accurate commercial
appraisal has always played an important role in the consideration
of new acquisitions throughout the history of art. No more so than
today is this seen with the fluctuating, but ever more significant
rise in value commanded by the best of many 20th-century artists'
work. Written by Dr Louise Hughes as part of her doctoral studies
at the University of Bristol, this publication establishes the art
market fortunes of one of Britain's foremost modern artists, Walter
Sickert. Examining factors such as general and specific market
trends, media, genres and biography, Dr Hughes' analysis of sales
prices provides an invaluable research tool in assessing the
commercial positioning of Sickert's work. The publication consists
of two sections - biography, results and analysis and an insert
with an appendices of works sold between 1990 and 2011.
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