Andy Warhol, Susan Sontag, John Lennon & Yoko Ono -- Jonas Mekas was well acquainted with a great many New York artists. Born in Lithuania, he came to Brooklyn via Germany in 1949 and began shooting his first experimental films there. Mekas developed a form of film diary in which he recorded his daily observations. He became the barometer of the New York art scene and a pioneer of American avant-garde cinema. Every week, starting in 1958 he published his legendary Movie Journal column in the Village Voice, writing on a range of subjects that were by no means restricted to the world of film. He conducted numerous interviews with artists, some of which will now appear for the first time in his Scrapbook of a Diarist. The book contains published and unpublished texts that reveal Mekas as a thoughtful diarist and an unparalleled chronicler of the day -- a phenomenon that has continued now for over fifty years.
Friedrich Froebel's invention of the kindergarten in the nineteenth century and Rudolf Steiner's educational theory at the start of the twentieth century had enormous consequences for modern art--above all in their theorizings of childhood creativity. Paul Klee in particular was greatly influenced by their work and the particular qualities of children's art, as his finger paintings and puppets, as well as his writings, attest. Following Klee's lead, and in the wake of the Second World War, the loose collective of artists known as CoBrA (from the initials of the members' home cities of Copenhagen, Brussels and Amsterdam) embraced childhood creativity as a redemptive freedom against the comparative formal strictures of earlier avant gardes. This volume examines the dialogue that Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn and Joseph Noiret forged with the art of Paul Klee, underlining Klee's more playful and mischievous qualities.
-This is the first complete catalogue of the Marshall Collection of Worcester Porcelain to ever be published This catalogue describes what is probably the most encyclopedic collection of early colored Worcester porcelain in existence. Henry Marshall assembled the collection between the two World Wars. In the years that followed, he sought to represent as comprehensive a range of patterns as possible, with minimal duplication, so that his collection would become a true reference work in itself. Every piece was acquired for specific purpose, many of them either to further his knowledge or because they were so rare. He was one of a small group of ceramic collectors who sought to document sources and influences, creating comprehensive hypotheses for the objects' histories. In this case specifically, Marshall's records reveal the Far Eastern influence on Worcester porcelain, alongside the many other prototypes used by decorators of these fine ceramics. This catalogue, like the collection itself, seeks to present early Worcester porcelain to collectors and a wider public in a systematic way. It describes, classifies, and reproduces every item in the Marshall Collection. It does not seek to present detailed new research, but to record the state of knowledge about the subject at the time of writing.
Since the 13th century, a few special public clocks have included the movement of the sun, moon, earth and other planets, and from those early days Jacks were devised as human figures which actually "struck" the hours. Soon thereafter, automata appeared as mechanical figures that performed many and various acts, such as the four knights on horseback who joust on the hour at the Wells Cathedral in England. Over 300 clocks, for buildings or tabletops, which do far more than tell time, are presented here with concise historical explanations, detailed drawings, and clear color photography. 22 chapters examine the amazing mystery, novelty, and fantasy clocks that display magical acts, appear to require no power to drive them, or have no apparent connection between the movement and the hands. Famous makers in England, Germany, France, and Switzerland created these special clocks which became treasures of royalty throughout Europe and Asia, particularly in Chinese courts. Clocks with mysterious, novel, and fantastic features continue to be made up to the present for retailers such as Asprey and Cartier. For over 700 years these amazing clocks have delighted and challenged all who witness their makers' ingenuity.
4to. Light brown cloth with red titling. Binding is solid; interior clean though slightly toned. Sepia-tone and color illustrations of Norwegian peasant arts. Men's Handicrafts is a companion to the Women's published 2 years earlier, and is much rarer. Boards lightly bumped, discolored at spine ends and at corners. Jacket lightly rubbed, scuffed and tanned with some wear and chips at extremities.
Nineteenth-century Europe was fascinated by the Orient. Napoleon's Egyptian campaign of 1798 initiated this phenomenon, and its history included the Greek uprising against the Turks in 1821 and the French taking of Algiers in 1830. Artists of the period, too, were captivated by these events, and the rich body of imagery they produced is the subject of this volume.Author Christine Peltre's elegant text retraces Orientalism's artistic history, in which the French and British schools predominated. The high poetry of the Romantics' Orient strove for dramatic effect, as the works of David Roberts, Alexandre-Gabriel Decamps, and Eugene Delacroix attest. A different brand of imagery was produced by the ethnographic gaze of the century's middle years, practiced by artists such as John Frederick Lewis, Eugene Fromentin, Jean-Leon Gerome, A. D. Ingres, and Adolphe Monticelli. Work of this kind was eventually superseded by a third style, a fusion of European and Eastern elements, as seen in the work of August Macke, Wassily Kandinsky, Paul Klee, and Henri Matisse.Witnesses to a history that they influenced in subtle ways through their imagery, the Orientalist painters also produced a history of their own, that of a spiritual and formal quest to find in the East the ideal of primitive purity. Orientalism in Art covers all these facets, making it an indispensable volume for art historians and anyone with a passion for Orientalist art.