Showing titles in History & Criticism

The central argument of Chromophobia is that a chromophobic impulse–a fear of corruption or contamination through color–lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge color, either by making it the property of some "foreign body"–the oriental, the feminine, the infantile, the vulgar, or the pathological–or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic.

Since the late-1990s, the fate of Nazi stolen art has become a cause célèbre. In Belonging and Betrayal, Charles Dellheim turns this story on its head by revealing how certain Jewish outsiders came to acquire so many old and modern masterpieces in the first place—and what this reveals about Jews, art, and modernity. This book tells the epic story of the fortunes and misfortunes of a small number of eminent art dealers and collectors who, against the odds, played a pivotal role in the migration of works of art from Europe to the United States and in the triumph of modern art.

This story of the Elgin marbles re-creates in full detail "the greatest art theft in history." Almost 200 years after they were "purchased" from Greece, the finest and most famous marbles of antiquity still remain a burning issue. This compelling, controversial story of the Elgin marbles re-creates in full and colorful detail "the greatest art theft in history", a steamy tale of obsession, intrigue, adultery, and ruin.

Lucian Freud (1922-2011) is one of the most influential figurative painters of the 20th century. His paintings are in every major museum and many private collections here and abroad. William Feaver's daily calls from 1973 until Freud died in 2011, as well as interviews with Freud's family and friends, were crucial sources. Freud's circle was broad, including not just other well-known artists but writers, bluebloods, royals in England and Europe, drag queens, fashion models, gamblers, bookies, and gangsters like the Kray twins.

As a brilliant art critic and historian, Laura Cumming has explored the importance of art in life and can give us a perspective on the time and place in which the artist worked. Now, through the lens of one dramatic event in 17th-century Holland, Cumming “has fashioned a book that combines memoir, art criticism, and history to illuminating effect” (The New York Times Book Review).

Master Italian sculptor, goldsmith, and writer Benvenuto Cellini is best remembered for his magnificent autobiography. In this work, which was actually begun in 1558 but not published until 1730, Cellini beautifully chronicles his flamboyant times. He tells of his adventures in Italy and France, and his relations with popes, kings, and fellow artists.

Starting with the Civil War and cartoonist Thomas Nast, creator of the lasting images of Uncle Sam and Santa Claus, author Jeremy Dauber whizzes listeners through the progress of comics in the 20th century and beyond. Follow the history from the golden age of newspaper comic strips - Krazy Kat, Yellow Kid, Dick Tracy - to the midcentury superhero boom - Superman, Batman, Wonder Woman - and from the moral panic of the Eisenhower era to the underground comix movement; from the grim and gritty Dark Knights to the graphic novel’s rise.

Had Hitler succeeded in conquering Europe, he would have crowned himself Holy Roman Emperor. The Nazis had in their possession priceless artifacts that would give Hitler legitimacy in his subjects' eyes: the Crown Jewels of the Holy Roman Empire including the Spear of Destiny, alleged to have pierced Christ's side at the Crucifixion. Looted from the royal treasury in Vienna, Austria, the Crown Jewels were hidden in a secret bunker deep beneath Nrnberg castle, known to few.

Art Monsters is a landmark feminist intervention in the way we think about women's stories and bodies, calling attention to a radical genealogy of feminist art that not only reacts against patriarchy but redefines its own aesthetic aims. Exploring a rich lineage of visual artists, thinkers, and writers, Elkin examines the ways feminists have confronted the problem of how to tell the truth of their experiences as bodies.

Before Picasso became Picasso—the iconic artist now celebrated as one of France's leading figures—he was constantly surveilled by the police. Amidst political tensions in the spring of 1901, he was flagged as an anarchist by the security services. Though he soon became the leader of the cubist avant-garde, and became increasingly wealthy as his reputation grew worldwide, Picasso's art was largely excluded from public collections in France for the next four decades.

A lively and deeply researched group biography of the figures who transformed the world of art in bohemian Paris in the first decade of the 20th century. In Montmartre is a colorful history of the birth of Modernist art as it arose from one of the most astonishing collections of artistic talent ever assembled. It begins in October 1900, as a teenage Pablo Picasso, eager for fame and fortune, first makes his way up the hillside of Paris’s famous windmill-topped district.

Modern begins on a specific day—March 22, 1905—at a specific place: the Salon des Indépendants in Paris, where works of art we recognize as modern were first exhibited. Philip Hook illuminates how this new art came to be—and how truly shocking it was. We witness movement upon movement that burst forth in dizzying succession: Fauvism, Expressionism, Primitivism, Symbolism, Cubism, Futurism, and Abstract. His vivid accounts breathe new life into the work and times of nearly two hundred artists, and whose collective genius was understood and appreciated by few at the time.

In freewheeling 1920s Paris, Kiki de Montparnasse was once the symbol of bohemian Paris. But if she is remembered today, it is only for posing for several now-celebrated male artists, including Amedeo Modigliani and Alexander Calder, and especially photographer Man Ray. Kiki and Man Ray met in 1921 during a chance encounter at a cafe. What followed was an explosive decade-long connection, both professional and romantic, during which the couple grew and experimented as artists, competed for fame, and created many of the shocking images that cemented Man Ray's reputation.

Commissioned in 1750, the Palazzo Venier was planned as a testimony to the power and wealth of a great Venetian family, but the fortunes of the Venier family waned, and the project was left abandoned and unfinished. Yet in the early 20th century, it attracted three fascinating women: Luisa Casati, Doris Castlerosse and Peggy Guggenheim.

William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the 19th century, and professionals in the 20th, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.

In the 1970s, Paris fashion exploded like a champagne bottle left out in the sun. Amid sequins and longing, celebrities and aspirants flocked to the heart of chic, and Paris became a hothouse of revelry, intrigue, and searing ambition. At the center of it all were fashion’s most beloved luminaries - Yves Saint Laurent, the reclusive enfant terrible, and Karl Lagerfeld, the flamboyant freelancer with a talent for reinvention - and they divided Paris into two fabulous halves.

An Italian village on a hilltop near the Adriatic coast, a decaying palazzo facing the sea, and in the basement, cobwebbed and dusty, lit by a single bulb, an archive unknown to scholars. Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.

Featuring an enlightening introduction by the book's translator, Michael T. H. Sadler, providing generational and cultural context for Kandinsky and his work, Concerning the Spiritual in Art gives testimony to the mind and creative expression of Kandinsky and other artists of his generation. This seminal and thought-provoking book exploring the heart of the artistic endeavor belongs in the library of every serious artist and student of modern art.

When he retired as the chief security officer of New York City's Metropolitan Museum of Art, John Barelli had spent the better part of 40 years responsible not only for one of the richest treasure troves on the planet, but the museum's staff, the millions of visitors, as well as American presidents, royalty, and heads of state from around the world. For the first time, John Barelli shares his experiences of the crimes that occurred on his watch, the investigations that captured thieves and recovered artwork....

One of the nation’s top art critics shows how six great artists made old age a time of triumph by producing some of the greatest work of their long careers—and, in some cases, changing the course of art history. Though these six artists differed in many respects, they shared one thing: a determination to go on creating, driven not by the bounding energies of youth but by the ticking clock that would inspire them to produce some of their greatest masterpieces.