• Picasso in his century / Didier Ottinger
• La Boḧme: Montmartre and the Bateau Lavoir
• Discovery of the 'Primitives'
• Cubism: Picasso and Braque
• The Salon Cubists
• The return to order
• Cubism settles down
• The Iron Age: Picasso and Gonz̀lex
• Surrealism
• Picasso and Giacometti
• Picasso and Lam
• Art in wartime
• Political engagement
• Studio of the south
• The Musketeers
• The Picasso myth
• Chronology 1881-1973

"...Examines the diverse influences, encounters and collaborative relationships that steered Picasso through many distinct artistic periods, such as his Blue Period, Cubism and Surrealism, and draws lines between Picasso's famous creations and the world around him...Exclusively developed for the NGV by the Centre Pompidou and the Musée national Picasso-Paris, the exhibition features over 80 works by Picasso alongside over 100 works by more than 50 of his contemporaries, drawn from premier French national collections, as well as the NGV Collection..."

• Introduction: George French Angas, 1822-1886
• 1. Formation
• 2. Illustrating South Australia
• 3. Illustrating New Zealand
• 4. Completing the portfolios
• 5. A figure in the world.

"Artist, naturalist, romantic traveller George French Angas (1822-1886) spent 18 months sketching and aobserving in Australia and New Zealand between 1844 and 1845. It was a period of decisive and irresistible cultural change. The young Angas excelled at capturing the minute detail of plants and people, objects and landscapes, and rapidly assembled a portfolio of 250 watercolours. In this ... volume, Philip Jones has used Angas' sketches, watercolours, lithographs and journal accounts to retrace his Antipodean journeys in vivid detail. Set in the context of his time, Angas emerges both as a brilliant artist and as a flawed Romantic idealist, rebelling against his father's mercantilism while entirely reliant on the colonial project enabling him to depict indigenous peoples and their ways of life."--Back cover.

• Sesson Shūkei: Zen, Secret Teachings, Reconnaissance, and Modelessness / Yukio Lippit
• The Practices of Ink Painting in Late Medieval Kantō / Aaron Rio
• Imagining Sesson: A Legacy Between Fact and Fiction / Frank Feltens

Three essays by leading scholars in the field of Japanese art explore Sesson's unique existence and unconventional painting style, as well as how scholarly perceptions of the artist have changed over time. Fifty-three entries highlight major works by Sesson as well as those by other artists before, during, and after his time. Sesson Shukei stands out as an anomaly in the history of Japanese art. Among the vast canon of Japanese ink painting, Sesson departed from convention. Inspired by the untamed landscape of the eastern regions of Japan, Sesson led a peripatetic existence caused by a lifetime of experiencing warfare and upheaval-yet he created some of the most visually striking images in the history of Japanese ink painting. This publication explores new ways of understanding and interpreting one of Japan's greatest painters and the world that shaped him.
(source: Nielsen Book Data)

• From "Northern Gate" to "Southern Advance": Envisioning the North-South Expansion of Colonial Japan
• Creating "Culture for Little Countrymen": The Total Mobilization of Toshi's Micronesian Experience
• Red Shift: Pre-1945 Visual Culture, Heterochronicity, and Proletarian Eastern Time
• Bare Naked Aesthetics: Postwar Arts and Toshi's Populist Manifesto
• Art as War Crime: Artistic Wartime Responsibility and the International Military Tribunal for the Far East
• Art as Direct Action: Hiroshima and the Nuclear Panels

The Art of Persistence examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912-2000). Scaling up from the details of Akamatsu's lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing-a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children's books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901-1995), and together in 1948-and in defiance of Occupation censorship-they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995.With abundant excerpts and drawings from Akamatsu's journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual's historical agency. While uncovering the longue duree of Japan's visual cultures of war, it charts the development of the national(ist) "literature for little citizens" movement and Japan's postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement.
(source: Nielsen Book Data)

• Early Years : Between the Cross and the Silver Slipper
• The Education of an Artist, Part 1
• The Education of an Artist, Part 2
• 1960 : Coney Island
• Back to Texas
• Artist-Teacher
• Southern Methodist University and Beyond
• Outer World and Inner Realm
• The 1970s : Toward a New Realism
• The 1980s : Connecting Change
• Maine
• Pipe Creek and New York City
• From Subways to Santa Fe
• Greenland, Iceland, and New York City
• Portraits
• Conclusion

Roger Winter has always been preoccupied with 'recording reality in all its strangeness, ' in the words of biographer and art historian Susie Kalil. His works partake of wide-ranging influences: childhood memories of gospel hymns blaring from a loudspeaker atop the 'Holy Roller' church near his home; strange totems composed of crows, foxes, angels, and old family photographs; rusted cars resting among chest-high weeds; faces reflected in the windows of a New York City bus. According to his siblings, he has been an artist since he was 'pre-verbal, ' and in a career spanning eight decades, he has continually reinvented himself, breaching the boundaries of one stylistic convention after another - never content to allow the expression of his vision to be constrained to a single vocabulary. In this definitive retrospective of Winter's life and art, Kalil explores not only the myriad influences of the artist and his dizzying stylistic journey but also allows Winter's work to pose important questions: Why do some people become artists and others don't? What gives artists their unique modes of perception and expression? Where is the line of separation between what is seen and what is represented? Between the maker and what is made? The Art of Roger Winter: Fire and Ice offers an in-depth portrait of one of today's most important American painters. Critics, collectors, scholars, students, and art lovers will glean deep insights from this study in contrasts.
(source: Nielsen Book Data)

• Early Years : Between the Cross and the Silver Slipper
• The Education of an Artist, Part 1
• The Education of an Artist, Part 2
• 1960 : Coney Island
• Back to Texas
• Artist-Teacher
• Southern Methodist University and Beyond
• Outer World and Inner Realm
• The 1970s : Toward a New Realism
• The 1980s : Connecting Change
• Maine
• Pipe Creek and New York City
• From Subways to Santa Fe
• Greenland, Iceland, and New York City
• Portraits
• Conclusion.

Roger Winter has always been preoccupied with 'recording reality in all its strangeness, ' in the words of biographer and art historian Susie Kalil. His works partake of wide-ranging influences: childhood memories of gospel hymns blaring from a loudspeaker atop the 'Holy Roller' church near his home; strange totems composed of crows, foxes, angels, and old family photographs; rusted cars resting among chest-high weeds; faces reflected in the windows of a New York City bus. According to his siblings, he has been an artist since he was 'pre-verbal, ' and in a career spanning eight decades, he has continually reinvented himself, breaching the boundaries of one stylistic convention after another - never content to allow the expression of his vision to be constrained to a single vocabulary. In this definitive retrospective of Winter's life and art, Kalil explores not only the myriad influences of the artist and his dizzying stylistic journey but also allows Winter's work to pose important questions: Why do some people become artists and others don't? What gives artists their unique modes of perception and expression? Where is the line of separation between what is seen and what is represented? Between the maker and what is made? The Art of Roger Winter: Fire and Ice offers an in-depth portrait of one of today's most important American painters. Critics, collectors, scholars, students, and art lovers will glean deep insights from this study in contrasts.
(source: Nielsen Book Data)

• Acknowledgments Notes on the Text Introduction
• 1. Arab Romantics: Kahlil Gibran and the Awakening Storm
• 2. Colonial Syria: Finding Life within Culture
• 3. Popular Politics: Adham Ismail and the Aesthetics of Revival
• 4. National Excavation: Fateh al-Moudarres and the Unholy Image Conclusion Notes Selected Bibliography Illustrations Index.
• (source: Nielsen Book Data)

In modern Syria, a contested territory at the intersection of differing regimes of political representation, artists ventured to develop strikingly new kinds of painting to link their images to life forces and agitated energies. Examining the works of artists Kahlil Gibran, Adham Ismail, and Fateh al-Moudarres, Beautiful Agitation explores how painters in Syria activated the mutability of form to rethink relationships of figure to ground, outward appearance to inner presence, and self to world. Drawing on archival materials in Syria and beyond, Anneka Lenssen reveals new trajectories of painterly practice in a twentieth century defined by shifting media technologies, moving populations, and the imposition of violently enforced nation-state borders. The result is a study of Arab modernism that foregrounds rather than occludes efforts to agitate against imposed identities and intersubjective relations.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgments Introduction: Claiming Middle Ground
• 1. Seeking Success: School, Society, and Career Aspirations 2. Routes to Roots: From Black Washington to Black Paris 3. Diasporic Directions: Haiti, Collage, and Composite Aesthetics 4. In and Out: Africa and the Academy
• Conclusion: Composite Naming Practices and Art Histories Notes Bibliography Index.
• (source: Nielsen Book Data)

In Designing a New Tradition, Rebecca VanDiver presents a fresh perspective on the art and career of Lois Mailou Jones. Considering the importance of Africa for Jones's work and examining the broader roles played by class, gender, and politics in constructions of African American art histories as a whole, VanDiver makes a convincing case for Jones's lasting place in American art history. VanDiver repositions Jones's work within the canon of American art, situating the artist's production within the larger cultural and aesthetic debates of the twentieth century, including modernism, abstraction, the Harlem Renaissance, feminism, Negritude, and Pan-Africanism. In doing so, VanDiver reveals one of Jones's most significant contributions to American art: the development of a composite black aesthetic that negotiates African, American, and European artistic traditions to reflect the increasingly fragmented nature of twentieth-century black identity and diasporic experiences. Tracing Jones's aesthetic transformations along a biographical arc, VanDiver offers a new framework for thinking about the connection between America and Africa and the role of the African diaspora in the creation of African American artistic identity. Accessibly written and filled with fascinating anecdotes about Jones's life and career, her many acquaintances, and the challenges she faced as a black woman artist working in the twentieth century, this book makes a singular contribution to a new and expanded art-historical canon.
(source: Nielsen Book Data)

• 'Something I've taken from my pocket : Warren Rohrer's art in context(s) / Christopher Reed
• Truths of a woman's life and the education of poet Jane Rohrer / Julia Spicher Kasdorf
• 'Tracking the Amish quilt' : Warren and Jane Rohrer's search for a usable past / Janneken Smucker
• Furrows and fields : Lancaster County farming landscapes in the twentieth century / Sally McMurry
• Warren Rohrer's Fields / Steven Z. Levine
• Work, labor, matter : Warren Rohrer's abstraction / Nancy Locke and Christopher Campbell
• The gleaners : Alma Thomas and Warren Rohrer at the edge of the field / Jonathan Frederick Walz
• Plain and beautiful : a younger artist considers Warren Rohrer / Douglas Witmer
• The loves of Lower Cogslea / William R. Valerio
• Hearing the brush : paintings and poems by Warren and Jan Rohrer

Field Language presents the work of an extraordinary couple who together left the rural lifeways of their Mennonite upbringing to go "into the world" to create forms of modern art that reflected on the places and culture they came from. Published on the occasion of a retrospective exhibition devoted to the working relationship between abstract painter Warren Rohrer and his wife, poet Jane Turner Rohrer, this sumptuously illustrated book explores the Rohrers' painting and poetry in relation to their biographies and to the nature of modernism and modernity. The artists, poets, and historians contributing to this volume present a variety of perspectives on the Rohrers, situating their work within the context of modernism, the changing agricultural landscapes of Lancaster County, Pennsylvania, and the aestheticization of local craft practices. Through the work of these two highly original and creative artists, Field Language invites readers to consider relationships between global art movements and local visual cultures, issues of land use, the sustainability of rural communities and cultures, and our own relationships with agricultural landscapes, seasonal change, labor, and human need and desire. In addition to the editors, the contributors include Christopher Campbell, Steven Z. Levine, Nancy Locke, Sally McMurry, Janneken Smucker, William R. Valerio, Jonathan Frederick Walz, and Douglas Witmer.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgments List of Abbreviations Introduction
• 1 Methodology and the Example of Psalm 1 2 Analysis of the Pictorial Motifs in Selected Utrecht Psalter Illustrations 3 Late Antique Galilee: The Context for the Creation of the Model for the Utrecht Psalter Illustrations 4 The Style of the Utrecht Psalter and Its Relation to Late Antique Jewish Art
• Conclusions Notes Bibliography Index.
• (source: Nielsen Book Data)

In a major departure from previous scholarship, this volume argues that the illustrations in the famous and widely influential Utrecht Psalter manuscript were inspired by a late antique Hebrew version of Psalms, rather than a Latin, Christian version of the text. Produced during the early ninth century in a workshop near Reims, France, the Utrecht Psalter is illustrated with pen-and-ink drawings in a lively style reminiscent of Hellenistic art. The motifs are largely literal renditions of words and phrases found in the book of Psalms. However, more than three dozen motifs cannot be explained by either the Latin text that accompanies the imagery or the commentaries of the church fathers. Through a close reading of the Hebrew Psalms, Pamela Berger demonstrates that these motifs can be explained only by the Hebrew text, the Jewish commentary, or Jewish art. Drawing comparisons between the "Hellenistic" style of the Psalter images and the style of late antique Galilean mosaics and using evidence from recent archaeological discoveries, Berger argues that the model for those Psalter illustrations dependent on the Hebrew text was produced in the Galilee. Pioneering and highly persuasive, this book resolves outstanding issues surrounding the origins of one of the most extensively studied illuminated manuscripts. It will be mandatory reading for many historians of medieval art and literature and for those interested in the Hebrew text of the book of Psalms.
(source: Nielsen Book Data)

• Guston, then : telling tales / Harry Cooper
• Drawing for Conspirators, 1930 / Trenton Doyle Hancock
• A note on Mr. Guston / Rirkrit Tiravanija
• From garbage cans to God / Amy Sillman
• Guston head / Tacita Dean
• Setting fire / David Reed
• The Studio, 1969 / William Kentridge
• In the hood / Glenn Ligon
• No studio drama / Peter Fischli
• KKK + KK / Art Spiegelman
• The weight of things / Dana Schutz
• The mask and the lie of art / Alison de Lima Greene
• Jewish image maker / Mark Godfrey
• On edge and at sea / Kate Nesin
• Chronology / Jennifer Roberts and Harry Cooper

"The first American retrospective of artist Philip Guston's (1913-1980) career in over 15 years. Scholarly essays trace the influences, interests, and evolution of this singular force in modern and contemporary art--including a close look at the 1960s and 1970s, when Guston abandoned abstraction, returning to the figure and to current history but with a personal voice, by turns comic and apocalyptic, that resonates today more than ever"-- Provided by publisher

• List of Illustrations Acknowledgments Introduction
• Part 1: Writing and Painting 1. Unfolding Automatism 2. Excessive Gestures 1 3. Excessive Gestures 2 4. Ordinary Painting
• Part 2: Folding and Cutting 5. The Passage to Pliage 6. Figuring Finitude 1 7. Figuring Finitude 2 8. Abandoned Painting
• Envoi: A Politics of "With"
• Appendix 1: "A Plantaneous Demolition" Simon Hantai and Jean Schuster
• Appendix 2: "Notes, Deliberately Confounding, Accelerating, and the Like for a 'Reactionary, ' Nonreducible Avant-Garde" Simon Hantai
• Notes Bibliography Index.
• (source: Nielsen Book Data)

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.
(source: Nielsen Book Data)

• Cover
• Title
• Copyright
• Contents
• Foreword
• Acknowledgments
• Everett Spruce: "A Deeper Realism"
• An Interview with Alice Spruce Meriwether
• "A Highly Personal Idiom": Everett Spruce Chronology
• Gallery of Works
• Works in the Exhibition
• Lenders to the Exhibition
• About the Exhibition
• Selected Bibliography
• Index

Everett Spruce came to Texas from his Arkansas home in 1925 to study at the Dallas Art Institute. Over the next seven decades, he became one of the most important painters and teachers in the region. One of the "Dallas Nine, " a group of influential Texas Regionalists that included Jerry Bywaters, Otis Dozier, William Lester, and others, Spruce was among the artists who lobbied the Texas Centennial Commission for a greater role in the Centennial Exposition of 1936. These efforts, though unsuccessful, nevertheless led to greater recognition and influence for Texas art and artists. Spruce was assistant director and taught art at the Dallas Museum of Fine Arts until 1940 when he joined the faculty of the University of Texas at Austin. He painted and taught at the university for the next 38 years, guiding and shaping the next generation of Texas artists, including Roger Winter, William Hoey, and others. Spruce died in 2002 at the age of 94. Texas Made Modern: The Art of Everett Spruce traces Spruce's artistic evolution from his early experimental work of the 1920s through the mysterious, surrealist-imbued landscapes of the 1930s. The work addresses his boldly expressionistic imagery of the 1940s and his abstract expressionist-inspired paintings of the mid-twentieth century. Departing from previous accounts of Spruce, which label him a prototypical regionalist, this study reveals the nuanced meanings behind the artist's shifting approaches to Texas subject matter and resituates his artwork within the broader narrative of American art
"Texas Made Modern: The Art of Everett Spruce traces Spruce's artistic evolution from his early experimental work of the 1920s through the mysterious, surrealist-imbued landscapes of the 1930s. The work addresses his boldly expressionistic imagery of the 1940s and his abstract expressionist-inspired paintings of the mid-twentieth century. Departing from previous accounts of Spruce, which label him a prototypical regionalist, this study reveals the nuanced meanings behind the artist's shifting approaches to Texas subject matter and resituates his artwork within the broader narrative of American art"-- Provided by publisher

• List of Illustrations Preface Acknowledgments List of Abbreviations Introduction: Titian, Charismatic Painter
• 1. Icons and Agency: The San Rocco Christ Carrying the Cross 2. Icons and Exegesis in Ferrara: Christ with the Coin and Judith/Salome 3. Erasmian Icons: Visualizing the Philosophia Christi 4. Icons and Community: Rome and the Network of Ecce Homos 5. Rupestrian Icons: Ecce Homo on Slate, Mater Dolorosa on Marble, and the Matter of Devotion 6. Explicit Icons: Historicity Between Tradition and Self 7. The Twilight of the Icon? Titian's Pieta in the Gallerie dell'Accademia
• Epilogue Notes Bibliograph Index.
• (source: Nielsen Book Data)

Titian, one of the most successful painters of the Italian Renaissance, was credited by his contemporaries with painting a miracle-working image, the San Rocco Christ Carrying the Cross. Taking this unusual circumstance as a point of departure, Christopher J. Nygren revisits the scope and impact of Titian's life's work. Nygren shows how, motivated by his status as the creator of a miracle-working object, Titian played an active and essential role in reorienting the long tradition of Christian icons over the course of the sixteenth century. Drawing attention to Titian's unique status as a painter whose work was viewed as a conduit of divine grace, Nygren shows clearly how the artist appropriated, deployed, and reconfigured Christian icon painting. Specifically, he tracks how Titian continually readjusted his art to fit the shifting contours of religious and political reformations, and how these changes shaped Titian's conception of what made a devotionally efficacious image. The strategies that were successful in, say, 1516 were discarded by the 1540s, when his approach to icon painting underwent a radical revision. Therefore, this book not only tracks the career of one of the most important artists in the tradition of Western painting but also brings to light new information about how divergent agendas of religious, political, and artistic reform interacted over the long arc of the sixteenth century. Original and erudite, this book represents an important reassessment of Titan's approach to devotional subject matter. It will appeal to students and specialists as well as art aficionados interested in Titian and in religious painting.
(source: Nielsen Book Data)

• List of Illustrations Preface: "The Quill Is My Plow" Acknowledgments Note on Sources, Methods, and Abbreviations
• Introduction: "Pages of a Mystical Character"-- German Manuscripts in American History 1. "Heaven Is My Fatherland": Manuscript Culture in an Age of Evangelical Piety 2. "The Spirit of the Letter": Calligraphy and Spirituality During the Long Era of Manuscripts 3. "Worship Always the Scripture": Teaching Literacy and Pious Wisdom in German Pennsylvania 4. "Incense Hill": Song, Image, and Ambient Manuscripts 5. Marching to "Step and Time": Text, Commemoration, and the Rituals of Everyday Life Conclusion: "Errand into the Wilderness"-- Making Meaning from Manuscripts
• Notes Bibliography Index.
• (source: Nielsen Book Data)

Once a vibrant part of religious life for many Pennsylvania Germans in the eighteenth and nineteenth centuries, Fraktur manuscripts today are primarily studied for their decorative qualities. The Word in the Wilderness takes a different view, probing these documents for what they tell us about the lived religious experiences of the Protestant communities that made and used them and opening avenues for reinterpretation of this well-known, if little understood, set of cultural artifacts. The resplendent illuminated religious manuscripts commonly known as Fraktur have captivated collectors and scholars for generations. Yet fundamental questions about their cultural origins, purpose, and historical significance remain. Alexander Lawrence Ames addresses these by placing Fraktur manuscripts within a "Pietist paradigm, " grounded in an understanding of how their makers viewed "the Word, " or scripture. His analysis combines a sweeping overview of Protestant Christian religious movements in Europe and early America with close analysis of key Pennsylvania devotional manuscripts, revealing novel insights into the religious utility of calligraphy, manuscript illumination, and devotional reading as Protestant spiritual enterprises. Situating the manuscripts in the context of transatlantic religious history, early American spirituality, material culture studies, and the history of book and manuscript production, Ames challenges long-held approaches to Pennsylvania German studies and urges scholars to engage with these texts and with their makers and users on their own terms. Featuring dozens of illustrations, this lively, engaging book will appeal to Fraktur scholars and enthusiasts, historians of early America, and anyone interested in the material culture and spiritual practices of the German-speaking residents of Pennsylvania.
(source: Nielsen Book Data)