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Celebrating the cultural significance and clarity of vision evident in Northern European art of the fifteenth through the eighteenth century &nbsp;

Walsh Amy: Northern European Art in the
Norton Simon Museum

Northern European Art in the Norton Simon Museum

'Utterly gripping, enraging, entertaining - and important. I can't recommend it highly enough' Jennifer Higgie In 1958, talented and fearless and eighteen years old, Liliane Lijn left her family home and moved to Paris alone to become an artist. Once there, she found an art world filled with the wild energy of creative revolution - peopled and controlled almost entirely by men. Embracing the bohemian spirit of the Left Bank, Lijn built a life for herself in the city, befriending artists, poets and revolutionaries and creating ground-breaking sculptures with light, text and movement, despite being told again and again that there are no great women artists. Liquid Reflections is her sparkling memoir of these years of experiment and adventure. Based on personal diaries from the time, this is a riveting and revelatory portrait of the artist as a young woman. 'A whirlwind of encounters . . . a pioneer in melding art, poetry and science' Art Basel

Liquid Reflections

Basic Art

Hilma af Klint malte, als würde sie das Universum kanalisieren. Seit ihrer Kindheit fasziniert von Botanik und Mathematik, begann sie ihre Karriere mit Landschafts- und Porträtmalerei, jedoch beschäftigten sie auch andere Themen: spirituelle Fragen, unsichtbare Energien, Muster, die zu groß für das bloße Auge sind. Ihre Kunst war untrennbar mit ihrer spirituellen Praxis verbunden. Mit einem Kreis von Künstlerinnen namens De Fem ("Die Fünf") hielt sie Séancen ab, hörte Stimmen von hohen Meistern und ließ sich von der Theosophischen Gesellschaft und den Theorien Rudolf Steiners inspirieren. Unermüdlich arbeitete sie daran, die verborgenen Dimensionen des Lebens zu kartografieren, und malte bis zur körperlichen Erschöpfung. Bis 1906 zeigten ihre Leinwände strahlenförmige Geometrien aus Spiralen und Kugeln, reich an Symbolen, Buchstaben und Wörtern, die die spätere Hinwendung zur Abstraktion von Kandinsky, Malewitsch, Mondrian und anderen vorwegnahmen. Ihre umfangreichen Gemäldezyklen - großformatigen Serie Malereien für den Tempel - stellten oft Dualitäten dar: Innen und Außen, das Irdische und das Esoterische, Mann und Frau, Gut und Böse. Als Vegetarierin, die die Festlegung der Geschlechter in Frage stellte, war af Klint ihrer Zeit eindeutig voraus; dennoch war sie ein Kind ihrer Zeit und zu Lebzeiten so gut wie unbekannt. Ihr beeindruckendes Werk blieb jahrzehntelang ungesehen, auf ihren eigenen Wunsch hin unter Verschluss gehalten. Erst in den 1980er Jahren begann die Welt, sie als echte Pionierin der abstrakten Kunst anzuerkennen. Dieses Buch lädt Sie ein, anhand einer Auswahl ihrer Werke in Hilma af Klints visionäre Welt einzutauchen. Ausführliche Essays bringen die Komplexität ihres Œuvres auf den Punkt und lassen ein einst geheimnisvolles Universum auf neue Weise erfahrbar werden.

Hilma af Klint malte, als würde sie das Universum kanalisieren. Seit ihrer Kindheit fasziniert von Botanik und Mathematik, begann sie ihre Karriere mit Landschafts- und Porträtmalerei, jedoch beschäftigten sie auch andere Themen: spirituelle Fragen, unsichtbare Energien, Muster, die zu groß für das bloße Auge sind.
 
 Ihre Kunst war untrennbar mit ihrer spirituellen Praxis verbunden. Mit einem Kreis von Künstlerinnen namens De Fem („Die Fünf“) hielt sie Séancen ab, hörte Stimmen von hohen Meistern und ließ sich von der Theosophischen Gesellschaft und den Theorien Rudolf Steiners inspirieren. Unermüdlich arbeitete sie daran, die verborgenen Dimensionen des Lebens zu kartografieren, und malte bis zur körperlichen Erschöpfung.
 
 Bis 1906 zeigten ihre Leinwände strahlenförmige Geometrien aus Spiralen und Kugeln, reich an Symbolen, Buchstaben und Wörtern, die die spätere Hinwendung zur Abstraktion von Kandinsky, Malewitsch, Mondrian und anderen vorwegnahmen. Ihre umfangreichen Gemäldezyklen – großformatigen Serie Malereien für den Tempel – stellten oft Dualitäten dar: Innen und Außen, das Irdische und das Esoterische, Mann und Frau, Gut und Böse.
 
 Als Vegetarierin, die die Festlegung der Geschlechter in Frage stellte, war af Klint ihrer Zeit eindeutig voraus; dennoch war sie ein Kind ihrer Zeit und zu Lebzeiten so gut wie unbekannt. Ihr beeindruckendes Werk blieb jahrzehntelang ungesehen, auf ihren eigenen Wunsch hin unter Verschluss gehalten. Erst in den 1980er Jahren begann die Welt, sie als echte Pionierin der abstrakten Kunst anzuerkennen.
 
 Dieses Buch lädt Sie ein, anhand einer Auswahl ihrer Werke in Hilma af Klints visionäre Welt einzutauchen. Ausführliche Essays bringen die Komplexität ihres Œuvres auf den Punkt und lassen ein einst geheimnisvolles Universum auf neue Weise erfahrbar werden.

Hilma af Klint

A fascinating consideration of the dynamic relationship between fashion, art, and the modernizing forces of the early nineteenth century &nbsp; Across the visual arts in France and Britain in the 1820s and 1830s a novel concept of fashionability took shape. Driven by a quest for the new and wide-ranging in taste, fashion flourished in the period’s expansive print production, while the fine arts negotiated the demand for novelty by, paradoxically, reviving styles from the past. Susan L. Siegfried argues that the intersections between fashion, costume, and art in these pivotal decades embody the fractured conditions of early-nineteenth-century visual culture. &nbsp; The New Taste examines depictions of clothing and hairstyles in fashion plates, paintings, prints, and sculpture by artists including Jean-Auguste-Dominique Ingres, Horace Vernet, Achille Devéria, and Bertel Thorvaldsen, alongside texts on clothing and art by writers such as Honoré de Balzac and Thomas Carlyle. Siegfried reveals how both the commercial and the fine arts responded to transformations in social dynamics, colonialism, print technology, textile manufacture, perceptions of the male dandy, and the role of women as consumers. Highlighting a largely overlooked period in art and fashion, this richly illustrated volume offers insights into the social, artistic, and gendered questions that troubled the shift from classicism to realism.

Fashion and Art in the 1820s and 1830s

The New Taste

An examination of shifting notions of identity in modern-day Germany—and the diverse artists challenging conventional meanings of “Germanness” today &nbsp; Made in Germany? Art and Identity in a Global Nation addresses important questions of contemporary art and belonging in Germany from the 1980s, when discussions about multiculturalism in West Germany came to the fore, to our current time, a period still deeply impacted by the country’s unification and more recent migration policies. In the wake of these developments, racial violence, right-wing populism, and ethnically defined nationalism have grown. Accessible essays on topics such as labor migration, being Black in Germany, and the aftermath of the fall of the Berlin Wall lay the groundwork for understanding the intercultural dynamics in Germany today. Object-focused texts delve into works in various media, from Candida Höfer’s slideshow Turks in Germany 1979, which presented Turkish immigrants as embedded in public life at a time when they were not welcomed as a permanent part of German society, to Ngozi Schommers’s readymade sculpture Commuters, a commentary on the country’s ongoing housing crisis. In a period when right-wing nationalist movements are gaining traction in Germany and around the globe, Made in Germany? argues for a more expansive idea of what it means to be German, spotlighting artists from diverse backgrounds whose works probe notions of national identity. &nbsp; Distributed for the Harvard Art Museums &nbsp; Exhibition Schedule: &nbsp; Harvard Art Museums, Cambridge, MA (September 13, 2024–January 5, 2025)

Art and Identity in a Global Nation

Made in Germany?

Born just fourteen months apart, one in London and the other in rural Suffolk, J. M. W. Turner and John Constable went on to change the face of British art &nbsp; The two men have routinely been seen as polar opposites, not least by their peers. Differing in temperament, background, beliefs, and vision, they created images as dissimilar as their personalities. &nbsp; Yet in many ways they were fellow travellers. As children of the late eighteenth century, both faced the same challenges and opportunities. Above all, they shared common cause as champions of a distinctively British art. Through their work, they fought for the recognition and appreciation of landscape painting—and in doing so ensured their reputations were forever intertwined and interlinked. &nbsp; Nicola Moorby offers us a fresh perspective on two extraordinary artists, uncovering the layers of fiction that have embellished and disguised their greatest achievements. For Turner &amp; Constable is not just a tale of two artists; it is also the story of the triumph of landscape painting.

Art, Life, Landscape

Turner and Constable

The Art of Travel series showcases the world's greatest artists, and the places where they lived and worked. See the sights through their eyes, and watch their masterpieces come to life. Transport yourself back in time to meet Caravaggio navigating the mean streets of 17th-century Rome. Or head to 18th-century Venice, where Canaletto paints supersized postcards for Grand Tourists. Or to medieval Florence, where Giotto is hard at work in the Bardi chapel. Wherever you're heading, the Art of Travel series takes you on a journey into the heart of Italy's great cities, with its best-loved artists as your tour guides. With twelve chapters, each devoted to an artist or group of artists, and a dozen itineraries to choose from, you can immerse yourself in their world, wandering in and out of churches, palaces and grand residences to admire their work in situ - all from the comfort of your armchair. Each chapter begins with an illustrated map, featuring hand-drawn vignettes that bring to vivid life episodes from the artists' often turbulent lives, as well as key landmarks and local colour. Set off on your own Grand Tour for the 21st century.

Art of Travel

Italy: In the Footsteps of the Great Artists

The first book to combine the approaches of business and global history to analyse the development of the fashion industry from the mid-19th century onwards, to offer a new perspective on the history of the global fashion business.

Global Fashion Business since 1850

Capitalism’s Favorite Child

"Art should comfort the disturbed and disturb the comfortable..." - Cesar A. Cruz Across the centuries, art has held up a mirror to humanity's evolving culture and creativity. Ancient civilizations left us mysterious sculptures while Renaissance artists produced iconic masterpieces. The Impressionists captured fleeting moments of beauty, while the Surrealists explored dreams and the subconscious. In recent decades, artists such as Frida Kahlo, Jackson Pollock and Banksy have embraced new mediums and pushed artistic boundaries even further. Brimming with fabulous quotes, this little book offers a window into the minds of some of the world's most admired artists and thinkers - and is a vibrant celebration of the evolution of art through the ages. "Life is art. Art is life. I never separate it." - Ai Weiwei

Taking readers on a journey through the evolution of art, this little book contains quotes from artists including Michelangelo, Picasso, Frida Kahlo and Banksy, and spans different movements, styles and mediums.

Quotes for the Aesthete in Your Life

A Little Book About Art

Isms

Duchamp-isms

Very Short Introductions

Very Short Introductions: Brilliant, Sharp, Inspiring From the motorcar to the radio, modern technology radically transformed urban life by the first decade of the twentieth century. As one of Western Europe's least industrialized countries, Italy appeared impervious to such developments. It was this state of affairs at which the Futurist movement took aim. With its founding in 1909, the poet and impresario F.T. Marinetti called for a revitalization of aesthetic expression by means of "movement and aggression." A growing cadre of Futurist painters, poets, authors, and musicians exchanged Italy's cultural patrimony for new technologies, media, and metaphors, championing machine-propelled speed and its salutary hazards. Cubist painting, collage, and sculpture lent the Futurist campaign a revolutionary style to match its rhetorical fervor. Yet whereas Cubism remained a revolution of artistic form, Futurism sought to shatter the boundaries between art and life itself. Indeed, the movement's challenge to twentieth-century culture lay not in any specific set of images or objects, but a more comprehensive revolution of sensibility. By the mid-1910s there circulated several dozen Futurist proclamations on everything from men's clothing to set design, photography to film, dance to politics. That political impetus proved relentlessly paradoxical in origin and upshot. From its base in Milan, Futurist activity spread throughout the entire peninsula, while related movements emerged almost immediately in Moscow, Lisbon, Tiblisi, and Tokyo. Prefiguring and then propagandizing Fascist imperialism, Futurism also galvanized a range of progressive modernist phenomena. More than a century later, the "activist model" of the Futurist avant-garde remains deeply fraught in its historical implications. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

From the motorcar to the radio, modern technology radically transformed urban life by the first decade of the twentieth century. This Very Short Introduction explores the ideas, works, key figures, and development of the Futurist movement in Italy and beyond, in the context of the turmoil and rapid change of the early 20th Century.

A Very Short Introduction

Futurism

Peter Ackroyd, acclaimed historian and critic, uncovers London’s hidden past in this richly illustrated journey through its forgotten streets and stories.&nbsp; No city shaped the modern world quite like London—a powerhouse of trade, finance, and empire, the centre of global influence in the nineteenth century. But beyond the familiar stories of power and politics, its true life played out in the streets, where market traders, music hall crowds, and factory workers gave it its vitality, its light and its shadows.&nbsp; Forgotten London &nbsp;uncovers these stories, bringing to life the highs and lows of those who made the city what it was. Covering the transformative years from the Victorian era to the Second World War, this book immerses readers in a side of London often overlooked.&nbsp; The book is also richly illustrated, featuring rare photographs, colorised images, and period artwork.&nbsp; With Peter Ackroyd’s masterful storytelling, this is an unforgettable journey into the city’s past. Step into its streets, meet its people—and see London as you’ve never seen it before.&nbsp;

In Forgotten London, Peter Ackroyd uncovers the untold stories and forgotten lives that have shaped the city. Packed with fascinating details, this is a must-have for anyone who loves London and its rich history.

Exploring the Hidden Life of the City

Forgotten London

Contextualizing Art Markets

Before the tragedy of the Holocaust, many of the leading art and antiques dealers across Europe were Jewish, establishing dynamic cross-Channel, international and transatlantic networks. Aside from a few famous examples, however, we are only at the beginning of exploring the diversity of Jewish dealers' commercial and cultural worlds, and reflecting on the particular conditions that made possible their dramatic expansion within the profession. Adopting a wider geography than any previous study, this book brings together a team of distinguished international contributors to consider Jewish art dealers as an interconnected cohort, tied together by common strategies and a shared vulnerability. After an extended historiographical introduction, the volume presents case studies and trends from 1860-1940, including: Jewish family businesses in Western Europe; the role of Jews as mediators of art from East Asia; the antisemitism and suspicion faced by Jewish dealers; Jews as theorists, exhibition makers and promoters of modern art ; and the geographical mobility and professional reinvention of Jewish dealers in times of economic and political crisis. With a wide variety of illustrations, including paintings, decorative arts, historic photographs and archival material, the volume adopts a mix of methodological approaches to analyse a key chapter in Jewish cultural history and in the history of the international art market. Includes Afterword by Charles Dellheim, author of Belonging and Betrayal: How Jews Made the Art World Modern (2021).

Negotiating Cultural Modernity

Jewish Dealers and the European Art Market, c. 1860–1940

Northern European Art in the Norton Simon Museum

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