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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!
It was the decade of Coco Chanel and Josephine Baker, Art Deco and Surrealism, cafe culture and cabarets. Americans Hemingway and Man Ray mingled with emigres Brancusi, Chagall and Archipenko and painters from Matisse and Picasso to Dali in the bohemian arts scene of Montparnasse, while Brassai photographed the pulsating dance halls of Montmartre. This portrait spanning literature, painting, fashion and film takes a fresh look at the annees folles of 1920s Paris.
Many of the greatest avant-garde artists of the early twentieth century were Ukrainians or came from Ukraine. Whether living in Paris, St. Petersburg or Kyiv, they made major contributions to painting, sculpture, theatre, and film-making. Because their connection to Ukraine has seldom been explored, English-language readers are often unaware that figures such as Archipenko, Burliuk, Malevich, and Exter were inspired both by their country of origin and their links to compatriots. This book traces the avant-garde development from its pre-war years in Paris to the end of the 1920s in Kyiv. It includes chapters on the political dilemmas faced by this generation, the contribution of Jewish artists, and the work of several emblematic figures: Mykhailo Boichuk, David Burliuk, Kazimir Malevich, Vadym Meller, Ivan Kavaleridze, and Dziga Vertov.
Paintings, graphic works, sculptures, textiles and furniture - Johannes Itten was an unusually versatile artist who during the six decades of his creative career also produced one of the most important works on the theory of colours in the twentieth century. His artistic work is examined here for the first time scientifically on the basis of 120,000 biographical documents and sources and is being expanded in comparison with the catalogue raisonne of 1972 by more than 1,000 works from all creative periods. The three-volume catalogue raisonne includes the latest provenance research, an index of exhibitions and literature and provides for the first time a complete overview of the artistic cosmos of Johannes Itten.
The whole work, called art, knows no borders and peoples, but humanity. This is what Franz Marc and Wassily Kandinsky wrote in 1911 in their almanac Der Blaue Reiter (The Blue Rider). This programmatic publication established Der Blaue Reiter (ca. 1911-1914) as one of the first transnational artist circles. Their credo also inspires the Lenbachhaus to consider the work of the participating artists-among them Gabriele Munter, Alfred Kubin, Maria Marc and Elisabeth Epstein-not only aesthetically and historically, but also in its intellectual, socio-economic, and political context, for the Blue Rider circle advocated a global, equal understanding of art, not only in words, but also through images and deeds. Caught up in the time of the colonial world order before World War I, however, even they did not succeed in implementing an emancipatory practice of art beyond national affiliation and traditional hierarchies and genres. For the Lenbachhaus' current exhibition catalogue, the idea of equal rights for all cultural production, as pursued in the almanac, is nevertheless fundamental. For the first time, the many connections that the Blue Rider made to Japanese woodcuts, Bavarian and Russian folk art, children's drawings, contemporary music, and art from Bali, Gabon, Polynesia, New Caledonia, Sri Lanka, and Mexico are presented in their entirety. The project is funded by the German Federal Cultural Foundation as part of the Museum Global program. It will be followed in the fall of 2021 by a second exhibition, Group Dynamics- Collectives of Modernity, dedicated to groups of artists working worldwide. This catalogue is also published by Hatje Cantz.
In thirteen chapters, the exhibition and the accompanying catalogue offer profound insight into the cosmopolitan thinking of Joseph Beuys, as manifested in his actions, which are presented in the form of video projections and photographs. For it is in this capacity-as an acting, speaking, and moving figure-that Beuys examined the central, radical idea of his expanded concept of art: Every human being is an artist. The goal of his universalist approach was to renew society from the ground up. To this day, his influence can be felt in artistic and political discourses. In this exhibition, contemporary artists and representatives from various areas of society enter into a multilayered, transcultural dialogue with Beuys. From today's perspective, they confirm, question, and expand upon his theses about the possibilities of a future conceived via art. With B-Town Warriors, Phyllida Barlow, Nelly Ben Hayoun-Stepanian, Fatou Bensouda, Huma Bhabha, Dineo Seshee Bopape, Angela Davis, Dusadee Huntrakul, Charles Foster, Nuria Guell, Donna Haraway, Raphael Hillebrand, Jenny Holzer, Michel Houellebecq, Mierle Laderman Ukeles, Zoe Leonard, Goshka Macuga, Tuan Andrew Nguyen, Milk Tea Alliance, William Pope.L, Tejal Shah, Vandana Shiva, Santiago Sierra, Patti Smith, Edward Snowdon, Christopher D. Stone, Suzanne Lacy, The Otolith Group, Thich Nhat Hanh, Greta Thunberg, Malala Yousafzai
Lucinda Gosling’s John Hassall: The Life and Art of the Poster King is an exquisite feast of vibrant visuals for anyone interested in art and design history. While exhaustive in its coverage and analysis of John Hassall, whose iconic posters and postcards are instantly - and widely - recognisable, its lively, accessible tone will also enthral interested laypeople. Born in 1868, John Hassall began his long, successful, influential career as an advertising artist after studying in Paris, where he was influenced by Czech design innovator, Alphonse Mucha. Hassall went on to found an art school and work across multiple disciplines, including pottery, toy-making, book illustration, fine art and commercial art, each of them bearing his distinctive bold style and wit. His impactful WWI and travel and transport posters are instantly recognisable, as are his striking ads for big brands like Colman’s Mustard and Nestlé. Many sketches, letters and diary excerpts are here published for the first time, and the standard of the reproductions do excellent justice to the striking quality of the art itself. Alongside learning about Hassall’s life, and enjoying the high-quality visuals, I was especially wowed by seeing some of his book illustrations for the first time, among them a stunning Art Nouveau Little Red Riding Hood, and his astonishing “Pantomime ABC”.
This publication examines how artist's portray themselves in self-portraits and how they portray their fellow artists. The artist's studio, models and milieu (friends, family etc) are also considered. Most of Liss Llewellyn's projects in the last twenty five years have involved working directly with artists' studios. Amongst the thousands and thousands of images that until now had lain undisturbed, often hardly seen since the day they were created, some occasionally stand out. Often modest in size and not obviously works of importance; a scrap of paper recording the intense introspective gaze of an artist, or a moment of intimacy suggesting the artist was in love with his subject - be it his or her spouse, model or children. This portrait of an artist is the result of twenty years of collecting and brings together a remarkable group of works which, large or small, minor or major all have in common one quality - the ability to transport the viewer momentarily into the artist's milieu.
Charles Le Brun's drawing manual on human emotions has been used for centuries by artists and students as a model for depicting facial expressions. In David Schutter's work, Le Brun's manual is set to a different direction--a series of abstract drawings recalling vestiges of the human face animated by emotion. But Schutter's drawings are neither copies nor portraiture. Rather, they are reflections on how Lebrun's renderings were made. Collected here, Schutter's work recreates not the subject matter but the very values of Lebrun's drawings--light, gesture, scale, and handling of materials. The cross-hatching in the original was used to make classical tone and volume, in Schutter's hand the technique makes for unstable impressions of strained neck and deeply furrowed brow, or for drawing marks and scribbles unto themselves. As such, these drawings end up denying a neat closure--unlike their academic source material--and render unsettling states of mind that require repeated viewing. Accompanied by essays from art critic Barry Schwabsky and Neubauer Collegium curator Dieter Roelstraete, The Escape will appeal to students, critics, and admirers of seventeenth-century, modern, and contemporary art alike.