Victor Arnautoff reigned as San Francisco's leading mural painter during the New Deal era. Yet that was only part of an astonishing life journey from Tsarist officer to leftist painter. Robert W. Cherny's masterful biography of Arnautoff braids the artist's work with his increasingly leftist politics and the tenor of his times. Delving into sources on Russian emigres and San Francisco's arts communities, Cherny traces Arnautoff's life from refugee art student and assistant to Diego Rivera to prominence in the New Deal's art projects and a faculty position at Stanford University. As Arnautoff's politics moved left, he often incorporated working people and people of color into his treatment of the American past and present. In the 1950s, however, his participation in leftist organizations and a highly critical cartoon of Richard Nixon landed him before the House Un-American Activities Committee and led to calls for his dismissal from Stanford. Arnautoff eventually departed America, a refugee of another kind, now fleeing personal loss and the disintegration of the left-labor culture that had nurtured him, before resuming his artistic career in the Soviet Union that he had fought in his youth to destroy.
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• Contents: List of Figures Acknowledgments Introduction: The Art Market and Its Models "Secession" in a Hungarian context? A Working Definition of Modernism
• Chapter 1: An Art Market Develops in a Provincial Capital of the Habsburg Empire and Becomes the Center of the Hungarian Art World Artaria as the Model for the Central European Art Dealer The Early Art Market in Pest The Establishment of the Pesti Muegylet The First Exhibitions of the Muegylet Jacopo Marastoni's Reign over the Art Market in the 1840s and 50s Struggles within the Pesti Muegylet over Hungarian-ness
• Chapter 2: The QuickRise and Sudden Irrelevance of the Salon System The Struggle of the Hungarian Artist The Formation of the OMKT The First OMKT exhibition The OMKT's Structure The First Mucsarnok The OMKT Catalogues The Economics of Painting during the OMKT's Monopoly The Independent Jury and Kezdi-Kovacs' Consolidation of Power The Increasing Irrelevance OMKT
• Chapter 3: The Nemzeti Szalon Shatters the OMKT's Monopoly The Crisis Years of the 1890s The Establishment of the Nemzeti Szalon First Exhibitions in Budapest and the Countryside Other Revolts: Hollosy School/Nagybanya, Thorma's Martyrs of Arad, the 1900 Salon des Refuses How the Hock Affair Defined the Future of the Art Market The Golden Age of the Nemzeti Szalon under Ernst The New Building on Erzsebet ter The Revolt of the Artist Proletariat under Kezdi-Kovacs The M.I.E.N.K. The Consolidation of Power by Kezdi-Kovacs
• Chapter 4: Galleries Arise as the New Model of Commerce Galleries in the Late Nineteenth Century The Urania The Eggenberger Self-Staged Exhibitions The KEVE The Salon des Refuses of 1908 Printing in the Later Nineteenth Century The Konyves Kalman Szalon and Rippl-Ronai's Auction The Muveszhaz and the Role of Miklos Rozsa The Ernst Muzeum Conclusion: Returning to the Question of the Hungarian "Secession" Bibliography Appendix: Analysis of Producers, and Market Capacity Total Number of Works Exhibited in a Year Number of Works Exhibited at Each Exhibition Index of Names, Places, Movements, and Institutions
• Endnotes.
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This important work by American historian Jeffrey Taylor, who spent the last two decades in Hungary and earned his PhD at Central European University in Budapest, serves to detail the nineteenth-century origin of the art market in a Central European nation as its economy was shifting from total dependence on agriculture to a mixed industrial/agricultural model during the Industrial Revolution. The creation of the Austro-Hungarian Monarchy in 1867 provided Hungary with a measure of equality with Austria, initiating a period when the social and cultural development of Hungary and its newly emerging professional and merchant classes provided a new marketplace, which while bourgeois in nature nevertheless brought "art" to a greater portion of the population. Taylor provides us with a fascinating history, beginning in eighteen hundred, of the art market of Hungary, of the rise of modernism and its conflict with traditional elements.
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• An allegory. 'Mars and Minerva have never been the best of friends' / Koenraad Brosens ; New mythologies on the eve of the revolution / Goedele Pulinx
• Echoes of devastated cities. The smoke of Troy / Maarten de Pourcq ; The library of Alexandrea / Monica Berti ; Rome 1527 / Wim Blockmans ; Beirut : 'if time is my problem' / Ghalya Saadawi
• The shock of the Great War. The burning of Leuven / Mark Derez ; Reims : the bombarded Cathedral / Mark Derez ; 'Kultur', 'Zivilisation' / Christina Kott ; Literary voices on war and culture / Anke Gilleir
• The visible sign : the ruin. War tourism with and without rubble / Dominiek Dendooven ; The sublime ruin of the city / Steven Jacobs ; Dresden's contradictory modernities / Mark Jarzombek ; Imaging Hiroshima / Yukie Kamiya --Iconoclastic traditions. A desire for purity? / Eline van Assche ; The revolt of futurism / Johan de Smet ; Book-burning / Tom Verschaffel ; Goodby Hero! / Marjan Sterckx
• Emperors and art thieves. The Roman triumph : parading the plunder / Margaret M. Miles ; The invention of the universal museum / Dominique Poulot ; Hitler's 'Füher Museum' / Birgit Schwarz ; The Jewish restitution issue / Bert Demarsin
• A broader horizon. The conquistadores and Meso-America's pre-Columbian patrimony / César Manrique Figueroa ; The identity of a colonial treasury / Debora Silverman ; China's Cultural Revolution / Rebecca Knuth ; From Abkhazia to Bamiyan : hitting where it hurts / Eva Brems and Yaiza Janssens
• Stages in the history of monument preservation. Vandalism and conservation in the French Revolution / Wessel Krul ; Nineteenth-century restoration mania / Linda van Santvoort ; Heritage policy during the First World War / Marnix Beyen ; The Haguie Convention, 1954 / Sigrid van der Auwera and Koenraad van Balen
• Modern propaganda. Death and ruins, but not La fin de la grande guerre / Annette Becker ; The accelerated circulation of images / Peter Weibel
• List of exhibited works.

The year 2014 marks the one hundredth anniversary of the assassination of Archduke Franz Ferdinand of Austria, and the beginning of the conflict that would become known as World War I. In addition to the devastating loss of human life, the Great War was also responsible for the destruction of historic buildings and monuments, the theft of precious artworks, and the burning of untold numbers of books. Ravaged uses this anniversary as a poignant gateway to a greater discussion of the effect of war on artistic heritage. Beginning with the Trojan War and weaving a compelling cross-cultural narrative that ends in the 21st-century Middle East, this affecting publication explores how cultural treasures often became silent victims of armed conflict. Illustrations highlight over two hundred artworks and relics, which are often featured alongside complementary written reflections from contemporary artists. This thoughtful book is a graceful homage to centuries of lost artistic treasures.
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• Acknowledgements List Of Illustrations Romanov Rulers Of Russia: A Chart Contributors Preface The Need to Craft a National Past Marc Raeff Introduction Fedor Solntsev and Crafting the Image of a Russian National Past: The Context Wendy Salmond and Cynthia Hyla Whittaker Chapter One Solntsev, Olenin, and the Development of a Russian National Aesthetic Richard Wortman Chapter Two A Revolution in Russian Design: Solntsev and the Decorative Arts Anne Odom Chapter Three Solntsev's Role in Preserving the Treasures of the Moscow Kremlin Irina Bogatskaia Chapter Four Solntsev and the Reform of Icon Painting Marina Evtushenko Chapter Five In Solntsev's Footsteps: Adrian Prakhov and the Representation of Kievan Rus' Olenka Pevny Chapter Six The Material World of Kievan Rus' in the Historical Novels of the Nicholaevan Era Irina Reyfman Bibliography Index.
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The Romantic search for a national past was a European preoccupation in the first half of the nineteenth century. In Russia, this process led to the formation of the Russian style that has to today so captivated the world's imagination. While the manifestations of this style are easily recognizable in gleaming gilt, vibrant colors, onion domes, peasant costume, and tsarist regalia, hardly anyone has realized the pioneering and defining role that Fedor Solntsev (1801-1892) played in the development of a Russian national aesthetic. This book rescues Solntsev from obscurity and celebrates his major contributions to the arts, archaeology, architecture, ethnography, icon painting, restoration work, and Russian nationalist ideology as well as place his work in a general European context. Contributors include: Marc Raeff, Wendy Salmond, Richard Wortman, Anne Odom, Irina Bogatskaia, Marina Evtushenko, Olenka Pevny, Irina Reyfman, Nathaniel Knight, Lauren M. O'Connell, and J. Robert Wright.
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• IntroductionDesign as an Instrument of PowerThe NazisOne Fuhrer All the TimeBirth of a SymbolPropagating the BrandPromoting the Third ReichThe Italian FascistsDuce Duce DuceThe March from Ancient RomeFascist StylePromoting EmpireThe Soviet CommunistsLenin and the Blanding of RevolutionSeeing RedThe Soviet Avant-gardeStalin Comes of AgeThe Communist ChineseThe Cult of MaoSoviet Red ReduxThe Cultural RevolutionBibliographyIndex.
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"Iron Fists: Branding the 20th-Century Totalitarian State" is the first illustrated survey of the propaganda art, graphics, and artifacts created by the totalitarian governments of Nazi Germany, Fascist Italy, the USSR, and Communist China. The iconography produced by these regimes is universally recognized as their 'brands': the swastika and aggressive typography of Hitler's Germany, Mussolini's streamlined Futurist posters and stylish Black Shirt uniforms, the stolid Social Realism of Stalin's USSR, and Mao's Little Red Book and kitschy ceramic figurines from the Cultural Revolution.Written by the eminent designer and design historian Steven Heller, who has long collected two and three-dimensional examples from this period, "Iron Fists" focuses on graphic materials such as typefaces, logos, posters, advertisements, children's books, flags, and medals. As Heller explains, Mussolini fancied himself an art director and the Nazis had a sophisticated graphic program, featuring Hitler as 'logo, ' that is remarkably similar to modern corporate identity systems. Heller also explores the meaning of color systems (each dictatorship had a distinctive palette), the development of regime-specific typefaces, and even the slogans used to both rally and terrorize the populace. Delving into the history of once-innocent antecedents in heraldry, color symbolism, and sacred and secular symbols, he demonstrates how these elements were put to disturbingly effective use in selling the totalitarian message.
(source: Nielsen Book Data)

This book draws on pictorial images to illustrate what 'social movements' are. All these illustrations come from the International Institute of Social History that has actively acquired materials relating to social history ever since it was founded in 1935.

• List of Plates Introduction Part I: The Growth of an Artist The Early Years * From 'Byzantine' Miniatures to the Song of Songs * From La Tentation de Saint Antoine to the Statute of Kalisz * From George Washington to the League of Nations * An Amabassador for Co-operation * From The Haggadah to The Rubaiyat Part II: The Way Years From Miniature to Caricature * An Artist with a Message * A Public Service Artist * The Turn towards Peace Part III: Late Career Drawing Lessons * Illustrations for a Young Peace * Fighting for Israel * In a Changing America * Valediction Part IV: Who was Arthur Szyk? Creating Arthur Szyk * The Jewish Artist * The Political Artist Books with Illustrations by Szyk Exhibitions and Reviews of Szyk's Work Published Political Cartoons 1930-1950 War Cartoons: Corporate Use Bibliography Index.
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Artist and illustrator Arthur Szyk was a Polish Jew whose work was overwhelmingly Jewish in theme and content. In a lifetime of creativity that spanned many of the major events of the twentieth century and took him from Poland to France, England, and the United States, the mission he set himself was to use his artistic talents to serve humanity and the Jewish people. Though his politics were dictated by what he thought would be good for the Jews, his work as a political artist went well beyond a narrow definition of the Jewish cause. He is best known among Jews for his illustrated Haggadah, but the overwhelming majority of his work deals with contemporary political themes and social causes. In his native Poland, Szyk promoted the causes of freedom, toleration, and human dignity, drawing his inspiration from the Old Testament. He believed that as a Jewish artist he had a responsibility to speak for all minorities. His famous illustration of the historical Statute of Kalisz symbolized his belief that the newly re-established Polish state would welcome all its citizens into full and equal participation. Even though at that time he was already based outside Poland, he worked for many years on behalf of the Polish government in an effort to strengthen the Jews' position. Szyk left Europe in 1940 and arrived in the United States via Canada later the same year. Determined as ever to use his art for political purposes, he crusaded against the Nazis through newspaper and magazine cartoons, posters and public exhibitions. Convinced that Hitler would not stop with the Jews but would suppress all freedom-loving people, he supported the war effort through his striking propaganda images of the German and Japanese armies, to great effect. After the war he turned his efforts to promoting the idea of a Jewish homeland in Israel. In every phase of his career, one finds Szyk looking to the past but hoping for the future; he believed that art could make a difference in the world, politically and socially. Joseph Ansell's biography makes a singular contribution to the history of Jewish art and of Polish-Jewish relations in the first half of the twentieth century.
(source: Nielsen Book Data)