A Financial Times Book of the Year 2022 A penetrating analysis of the work of one of the most influential painters in the history of modern art by one of the world's most respected art historians. For more than a century the art of Paul Cezanne was held to hold the key to modernity. His painting was a touchstone for Samuel Beckett as much as Henri Matisse. Rilke revered him deeply, as did Picasso. If we lost touch with his sense of life, they thought, we lost an essential element in our self-understanding. If These Apples Should Fall: Cezanne and the Present looks back on Cezanne from a moment - our own - when such judgments may seem to need justifying. What was it, the book asks, that held Cezanne's viewers spellbound? At the heart of Cezanne lies a sense of disquiet: a homelessness haunting the vividness, an anxiety underlying the appeal of colour. T. J. Clark addresses this strangeness head-on, examining the art of Pissarro, Matisse and others in relation to it. Above all, he speaks to the uncanniness and beauty of Cezanne's achievement.

One of Europe's most mythologized Marxist intellectuals of the 20th century, Pier Paolo Pasolini was not only a poet, filmmaker, novelist, and political martyr. He was also a keen critic of painting. An intermittently practicing artist in his own right, Pasolini studied under the distinguished art historian Roberto Longhi, whose lessons marked a life-long affinity for figurative painting and its centrality to a particular cinematic sensibility. Pasolini set out wilfully to "contaminate" art criticism with semiotics, dialectology, and film theory, penning catalogue essays and exhibition reviews alongside poems, autobiographical meditations, and public lectures on painting. His fiercely idiosyncratic blend of Communism and classicism, localism and civic universalism, iconophilia and aesthetic "heresy," animated and antagonized Cold War culture like few European contemporaries. This book offers numerous texts previously available only in Italian, each accompanied by an editorial note elucidating its place in the tumultuous context of post-war Italian culture. Prefaced by the renowned art historian T.J. Clark, a historical essay on Pasolini's radical aesthetics anchors the anthology. One hundred years after his birth, Heretical Aesthetics sheds light on one of the most consequential aspects of Pasolini's intellectual life, further illuminating a vast cinematic and poetic corpus along the way.

One of the world s most respected writers on art investigates the very different ways painting has given form to the afterlife.

The idea of heaven on earth haunts the human imagination. The day will come, saybelievers, when the pain and confusion of mortal life will give way to a transfiguredcommunity. Such a vision of the world seems indelible. Even politics, some reckon, hasnot escaped from the realm of the sacred: its dreams of the future still borrow theirimagery from the prophets. In Heaven on Earth, T.J. Clark sets out to investigate thevery different ways painting has given form to the dream of God s kingdom come. Hegoes back to the late Middle Ages and Renaissance to Giotto in Padua, Bruegel facingthe horrors of religious war, Poussin painting the Sacraments, Veronese unfolding thehuman comedy. Was it to painting s advantage, is Clark s question, that in an age ofenforced orthodoxy (threats of hellfire, burnings at the stake) artists could reflect onthe powers and limitations of religion without putting their thoughts into words?

At the heart of the book stands Bruegel s ironic but tender picture of The Landof Cockaigne, and also Veronese s inscrutable Allegory of Love. The story ends withPicasso s Fall of Icarus, made for UNESCO in 1958, which already seems to signal perhaps to prescribe an age when all futures are dead.

The definitive guide for scientific entrepreneurs commercializing sustainable technologies in the chemical sector Lacking the considerable resources of multinational chemical companies, entrepreneurs face a unique set of risks and challenges. How to Commercialize Chemical Technologies for a Sustainable Future is targeted at innovators who are embarking on the entrepreneurial path with their sustainable chemical technology but are unsure of what steps to take. This first-of-its-kind resource features contributions from a diverse team of expert authors, including engineers, venture capitalists, marketing specialists, intellectual property professionals, regulatory experts, industry practitioners, and many others. Accessible and highly practical, this real-world guide covers each step of the technology commercialization process, from market landscape analysis and financing to scale-up and strategic partnering. Throughout the book, effective tactics and strategies for growing a new venture are supported by case studies highlighting the economic and environmental impact of successful commercialization, and identifying the common mistakes that lead to lost opportunities. Filled with invaluable advice and actionable steps, this book: Uses valuation concepts, tools, and examples to demonstrate that for a chemical technology to be sustainable it must not only have market value but also confer benefits to human well-being and the environment Offers templates and tools for understanding what customers need, who the competition is and how to successfully differentiate your product to those customers Describes how to practically advance your technology from conception all the way to commercial demonstration Presents advantages and disadvantages of strategic partnering from the perspective of the start-up and the larger industrial partner, along with strategies to mitigate risks within a partnership Provides an overview of the legal regulatory requirements for bringing new chemicals to market in several key geographic regions, as well as the impact of public policy on commercialization Offers insights and practical strategies on intellectual property management, raising investment, and operationalizing a startup company How to Commercialize Chemical Technologies for a Sustainable Future is essential reading for budding entrepreneurs in chemistry, materials science, and chemical engineering looking to bring their sustainable technologies to market. It is also a valuable reference for investors, policymakers, regulators, and other professionals.

Malcolm Bull offers a detailed analysis of nihilism in Nietzsche's works. Along with accompanying commentaries by Cascardi and Clark, he explores the significance of Nietzscheis views given the fact that a wide range of readers have come to embrace his ideas as new orthodoxy. There seem to be no anti-Nietzscheans today, but Bull demonstrates that this wide embrace of Nietzsche runs counter to the very meaning of nihilism as Nietzsche understood it.

A renowned art historian confronts the specific powers of painting, and the hold of the visual image on the viewer's imagination Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? How does our understanding of an image change over time? In his latest book T. J. Clark addresses these questions-and many more-in ways that steer art writing into new territory. In early 2000 two extraordinary paintings by Poussin hung in the Getty Museum in a single room, Landscape with a Man Killed by a Snake (National Gallery, London) and the Getty's own Landscape with a Calm. Clark found himself returning to the gallery to look at these paintings morning after morning, and almost involuntarily he began to record his shifting responses in a notebook. The result is a riveting analysis of the two landscapes and their different views of life and death, but more, a chronicle of an investigation into the very nature of visual complexity. Clark's meditations-sometimes directly personal, sometimes speaking to the wider politics of our present image-world-track the experience of viewing art through all its real-life twists and turns.

The idea of heaven on earth haunts the human imagination. The day will come, say believers, when the pain and confusion of mortal life will give way to a transfigured community. Such a vision of the world seems indelible. Even politics, some reckon, has not escaped from the realm of the sacred: its dreams of the future still borrow their imagery from the prophets. In Heaven on Earth, T.J. Clark sets out to investigate the very different ways painting has given form to the dream of God's kingdom come. He goes back to the late Middle Ages and Renaissance - to Giotto in Padua, Bruegel facing the horrors of religious war, Poussin painting the Sacraments, Veronese unfolding the human comedy. Was it to painting's advantage, is Clark's question, that in an age of enforced orthodoxy (threats of hellfire, burnings at the stake) artists could reflect on the powers and limitations of religion without putting their thoughts into words? At the heart of the book stands Bruegel's ironic but tender picture of The Land of Cockaigne, but also Veronese's inscrutable Allegory of Love. The story ends with Picasso's Fall of Icarus, made for UNESCO in 1958, which already seems to signal - perhaps to prescribe - an age when all futures are dead.

"Picasso and Truth" offers a breathtaking and original new look at the most significant artist of the modern era. From Pablo Picasso's early "The Blue Room" to the later "Guernica," eminent art historian T. J. Clark offers a striking reassessment of the artist's paintings from the 1920s and 1930s. Why was the space of a room so basic to Picasso's worldview? And what happened to his art when he began to feel that room-space become too confined--too little exposed to the catastrophes of the twentieth century? Clark explores the role of space and the interior, and the battle between intimacy and monstrosity, in Picasso's art. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this lavishly illustrated volume remedies the biographical and idolatrous tendencies of most studies on Picasso, reasserting the structure and substance of the artist's work.

With compelling insight, Clark focuses on three central works--the large-scale "Guitar and Mandolin on a Table" (1924), "The Three Dancers" (1925), and "The Painter and His Model" (1927)--and explores Picasso's answer to Nietzsche's belief that the age-old commitment to truth was imploding in modern European culture. Masterful in its historical contextualization, "Picasso and Truth" rescues Picasso from the celebrity culture that trivializes his accomplishments and returns us to the tragic vision of his art--humane and appalling, naive and difficult, in mourning for a lost nineteenth century, yet utterly exposed to the hell of Europe between the wars."

The essays in this wide-ranging, beautifully illustrated volume capture the theoretical range and scholarly rigor of recent criticism that has fundamentally transformed the study of French Impressionist and Post-Impressionist art. Readers are invited to consider the profound issues and penetrating questions that lie beneath this perennially popular body of work as the contributors examine the art world of late nineteenth-century France - including detailed looks at Monet, Manet, Pissarro, Degas, Cezanne, Morisot, Seurat, Van Gogh, and Gauguin. The authors offer fascinating new perspectives, placing the artworks from this period in wider social and historical contexts. They explore these painters' pictorial and market strategies, the critical reception and modern criteria the paintings engendered, and the movement's historic role in the formation of an avant-garde tradition. Their research reflects the wealth of new documents, critical approaches, and scholarly exhibitions that have fundamentally altered our understanding of Impressionism and Post-Impressionism. These essays, several of which have previously been familiar only to scholars, provide instructive models of in-depth critical analysis and of the competing art historical methods that have crucially reshaped the field. Contributors of this title include: Carol Armstrong, T. J. Clark, Stephen F. Eisenman, Tamar Garb, Nicholas Green, Robert L. Herbert, John House, Mary Tompkins Lewis, Michel Melot, Linda Nochlin, Richard Shiff, Debora Silverman, Paul Tucker, and Martha Ward.

In February 2003 the tapestry copy of Picasso's Guernica hung in the anteroom to the UN Security Council Chamber was curtained over, at American insistence - not 'an appropriate backdrop', it was explained, for official statements to the world media on the forthcoming invasion of Iraq. The episode became an emblem: of the state's relentless will to control the minutiae of appearance, as part of - essential to - its drive to war. But was the crudity of the attempt at censorship not counterproductive? And did not the whole incident speak above all to the state's anxiety as it tried to micro-manage the means of symbolic production? A manifesto for the new anti-war generation, Afflicted Powers is the first formal Situationist response to 9/11 and its aftermath. In a short, readable intervention the Bay Area Report Collective take an idiosyncratic and highly critical look at US foreign policy and the methods it employs. They perpetuate the legacy of Guy Debord with his hatred of the image-life, upon which so much of 9/11 and after has revolved. Topics explored include 'Islamism and the Crisis of the Secular Nation-State', 'Permanent War', 'Blood for Oil?' quirkily significant book, which will resonate for years to come - long after the current US administration has had its day. Afflicted Powers is an account of world politics since 11 September 2001. It aims above all to confront the perplexing doubleness of the present -- its lethal mixture of atavism and new-fangledness. The world careers backward into forms of ideological and geo-political combat that call to mind now the Scramble for Africa, now the Wars of Religion. But this brute return of the past is accompanied by an equally monstrous political deployment of (and entrapment in) the apparatus of a modern, not to say hypermodern, production of appearances. Capital is on the move again. In the Middle East and elsewhere it is attempting, nakedly, a new round of primitive accumulation and enclosure. Now, however, it is obliged to do so in unprecedented circumstances. for hegemony in the world of images; and never before has the dominant world power been subject to real catastrophe in the realm of the Spectacle, as happened to the US on September 11. The present turn to empire and enclosure - what Afflicted Powers terms military neo-liberalism - is confronted not only by various forms of radical Islam but by a new kind of vanguardism armed with the toolkit of spectacular politics. This book attempts to rethink certain key aspects of the current global struggle within this overall perspective, and to provide some critical support for present and future oppositions. Its main themes are: the Spectacle and September 11; blood for oil; permanent war and illusory peace; the U.S.-Israel relationship; revolutionary Islam; and modernity and terror.