No catches, no fine print just unadulterated book loving, with your favourite books saved to your own digital bookshelf.
New members get entered into our monthly draw to win £100 to spend in your local bookshop Plus lots lots more…Find out more
See below for a selection of the latest books from Art & design styles: c 1900 to c 1960 category. Presented with a red border are the Art & design styles: c 1900 to c 1960 books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Art & design styles: c 1900 to c 1960 books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
Laurence Stephen Lowry RBA RA is mostly thought about in terms of his people and their industrial setting but there is a great deal more to be read from the detail of his paintings. Throughout his artistic career, Lowry used street furniture to brilliant effect. He was a master of observation and composition. Lamp-posts, telegraph poles, flag poles, fences (and sometimes just vertical posts with no apparent use) form an important part of Lowry's busy industrial scenes. As his work developed, lamps became a subject in their own right and became the focus of some of his later quiet, solitary works. The evidence of Lowry's careful thought about lamps and lamp posts is evident in his response to young artists asking for career advice as well as it is in the painting: 'no need to go to London to become a famous painter. You won't find better lamp-posts there.' This book examines an important aspect of Lowry's art for the first time. It is written by Richard Mayson who was brought up in Lowry's home-village of Mottram-in-Longdendale. Mayson has a life-long passion for street lamps and street furniture. Taking some of Lowry's best-known works as a reference, this book highlights Lowry's use of lamps and street furniture in his handling of composition, perspective and colour. The expression of solitude, an aspect of Lowry's life and often conveyed in his later work, is also considered. He also compares the treatment of street furniture in Lowry's paintings with the reality of Salford and Manchester streets from 1916 to the 1970s illustrating how Lowry's work evolved. Previously unseen works in private collections will be reproduced in this book for the first time.
The Hungarian-born French painter Simon Hantai (1922-2008) is best known for abstract, large-format works produced using pliage: the painting of a crumpled, gathered, or systematically pleated canvas that the artist then unfolds and stretches for exhibition. In her study of this profoundly influential artist, Molly Warnock presents a persuasive historical account of his work, his impact on a younger generation of French artists, and the genesis and development of the practice of pliage over time. Simon Hantai and the Reserves of Painting covers the entirety of Hantai's expansive oeuvre, from his first aborted experiments with folding around 1950 to his post-pliage experiments with digital scanning and printing. Throughout, Warnock analyzes the artist's relentlessly searching studio practice in light of his no less profound engagement with developments in philosophy, psychoanalysis, and critical theory. Engaging both Hantai's art and writing to support her argument and paying particular attention to his sustained interrogation of religious painting in the West, Warnock shows how Hantai's work evinces a complicated mixture of intentionality and contingency. Appendixes provide English translations of two major texts by the artist, A Plantaneous Demolition and Notes, Deliberately Confounding, Accelerating, and the Like for a 'Reactionary,' Nonreducible Avant-Garde. Original and insightful, this important new book is a central reference for the life, art, and theories of one of the most significant and exciting artists of the twentieth century. It will appeal to art historians and students of modernism, especially those interested in the history of abstraction, materiality and Surrealism, theories of community, and automatism and making.
A groundbreaking new study on the VkHUTEMAS and their pioneering curriculum. Examines the way the VkHUTEMAS challenged established canons of academic tradition. Highlights their advanced explorative pedagogic approach building around a continuous feedback between assignments and solutions and demonstrates the lasting significance of the VkHUTEMAS' heritage. Based on latest research at previously inaccessible archives and featuring numerous previously unpublished images and documents. Avant-Garde as Method explores the nature of design education in the Soviet Union 1920-30. The mass character of teaching art and technology was as an essential condition for the modernist paradigm the Soviet communists maintained. The Higher Art and Technical Studios in Moscow, known as VkHUTEMAS, adopted the 'objective method' in order to facilitate instruction on a mass scale. It translated contemporary scientific knowledge and abstract visual language into modern design pedagogy. The school's curriculum was the first-ever attempt to implement such a mass design education. It combined nascent industrialised and long-standing academic methods to initiate a new, universalist type of pedagogy that took an explorative approach building around a continuous feedback between assignments and solutions and that was based on active exchange between students and teachers. Anna Bokov's book examines the way in which the VkHUTEMAS curriculum challenged the established canons of academic tradition by replacing it with an open-ended inquiry into abstract form. It traces how the resultant architectonic experiments were articulated into architectural and urban projects within the framework of the school's advanced studios.
With his Boite-en-valise, or Museum in a Box, Duchamp embarked on one of his more ambitious projects: a portable museum of miniature replicas and facsimiles created with the help of elaborate reproduction techniques as pochoir (a type of hand stencilling) and comprising his most important works. Conceived in the mid-1930s and consisting of eighty-one items, it was first released in 1941 and continued to be assembled in various editions until after his death, with the final seven different series totalling about 300 items. This publication is a facsimile of the series D, 1961 edition. Created with the full approval of the Duchamp Estate, it contains a reproduction of The Large Glass on Plexiglas, colour reproductions of his pictures, reproductions of his drawings and a selection of his humorous texts, a glass vial of Parisian air, a urinal, a small sugar dispenser, 'canned chance' and other miscellanea, all housed in a green cardboard box.
First published in 2006, this volume provides the first in-depth analysis of the place of visual representations within the process of decolonisation during the period 1945 to 1970. The chapters trace the way in which different visual genres - art, film, advertising, photography, news reports and ephemera - represented and contributed to the political and social struggles over Empire and decolonisation during the mid-Twentieth century. The book examines both the direct visual representation of imperial retreat after 1945 as well as the reworkings of imperial and 'racial' ideologies within the context of a transformed imperialism. While the book engages with the dominant archive of artists, exhibitions, newsreels and films, it also explores the private images of the family album as well as examining the visual culture of anti-colonial resistance.
PURGE the world of dead art, imitation, artificial art. . . . Promote living art, anti-art, promote NON ART REALITY to be grasped by all peoples, writes artist George Maciunas in his Fluxus manifesto of 1963. Reacting against an elitist art world enthralled by modernist aesthetics, Fluxus encouraged playfulness, chance, irreverence, and viewer participation. The diverse collective--including George Brecht, Robert Filliou, Dick Higgins, Alison Knowles, George Maciunas, Yoko Ono, Nam June Paik, Benjamin Patterson, Takako Saito, Mieko Shiomi, Ben Vautier, and Robert Watts--embraced humble objects and everyday gestures as critical means of finding freedom and excitement beyond traditional forms of art-making. While today the Fluxus collective is recognized for its radical neo-avant-garde works of performance, publishing, and relational art and its experimental, interdisciplinary approach, it was not taken seriously in its own time. With Fluxus Forms, Natilee Harren captures the magnetic energy of Fluxus activities and collaborations that emerged at the intersections of art, music, performance, and literature. The book offers insight into the nature of art in the 1960s as it traces the international development of the collective's unique intermedia works--including event scores and Fluxbox multiples--that irreversibly expanded the boundaries of contemporary art.
A key figure in the international avant-garde, Piet Mondrian (1872-1944) was at once an extraordinary painter and leading art theoretician whose influence resonates to this day. Coining the term Neo-plasticism , he pursued a style of painting composed only of primary colors against a grid of black vertical and horizontal lines and a white base background. Mondrian's vision was that this essential painting would help to achieve a society in which art as such has no place, but rather exists for the total realization of beauty. With stints in Amsterdam, Paris, London, and New York, Mondrian drew upon the modern metropolis and modern music, especially jazz, as points of inspiration. In 1917, he cofounded De Stijl, originally a publication, and subsequently a circle of practitioners, committed to a strictly geometrical art of horizontals and verticals. With key works and succinct texts, this introductory book presents Mondrian's distinctive and pioneering oeuvre, an abiding inspiration for fashion, art, architecture, and design, from White Stripes album covers to Yves Saint Laurent dresses. 2016 (c) US Mondrian/Holtzman Trust
As the United States struggled to recover from the Great Depression, 24 towns in Alabama would directly benefit from some of the $83 million allocated by the Federal Government for public art works under the New Deal. In the words of Harold Lloyd Hopkins, administrator of the Federal Emergency Relief Act, artists had to eat, too, and these funds aided people who needed employment during this difficult period in American history. This book examines so of the New Deal art-murals, reliefs, sculpture, frescoes and paintings-of Alabama and offers biographical sketches of the artists who created them. An appendix describes federal art programs and projects of the period (1933-1943).
The life and times of one of our most enchanting artists; a twentieth-century fairy tale, lovingly remembered and luminously told. Fourteen years ago, the artist Dorothea Tanning published Birthday, a collection of reminiscences. Now she has expanded it into a memoir of her journey through the last century as confidant, collaborator, and muse to some of its most inspired minds and personalities: a diverse assemblage that ranges from the fathers of dada and surrealism to Virgil Thompson, George Balanchine, Alberto Giacometti, Dylan Thomas, Truman Capote, Joan Miro, James Merrill, and many more. At its center is the relationship, tenderly rendered, between Tanning and her famed husband, the enigmatic surrealist Max Ernst. Whether recalling the poignant presence of her friend Joseph Cornell or simply marveling at the facades along a Venice canal, their filmy reflections fluttering in the dirty canal like fragile altar cloths hung out to dry, Tanning's writing is beguiling, wry, and shot through with the same eye for pregnant detail and immanent magic that marks her art.