Anton Gag arrived in Minnesota from Bohemia about 1879, and founded an artistic dynasty in the German-Bohemian community of New Ulm. L'Enfant (art history, College of Visual Arts, St. Paul, Minnesota) follows his life and that of two of his children, Wanda Hazel (1893-1946), who became a famous chil
Henri de Toulouse-Lautrec is known as the disfigured and dangerously self-destructive artist who recorded prolifically the louche world of sexy night-club dancers, lounging whores, and drunken bohemian merriment. Both in his life and art, he is thought to embody the climate of inebriated hilarity and excess of the fin de siecle.
But as David Sweetman, the noted biographer of Vincent van Gogh and Paul Gauguin, shows in this definitive work, there was another Toulouse-Lautrec, a committed and concerned man who moved in a secret community of anarchist revolutionaries, whose work betrayed a deep concern for human suffering, an artist who etched his sympathy for fallen women and lesbians into his portraits, and who remained loyal to the disgraced Oscar Wilde when the poet was abandoned and reviled by most. Sweetman's enlightening study of Toulouse-Lautrec has uncovered a man whose alliance with radicals and outspoken social critics (such as Felix Feneon) is implicit in his work.
Toulouse-Lautrec was also a man on the cutting edge of radical art. He helped design the sets for the play "Ubu Rio," which, with its foul language and politically subversive imagery, stirred up a frenzy of public outrage and condemnation yet changed the course of theatrical history. Toulouse-Lautrec also created seminal works in the field of graphic art; his posters advertising performances and artistic events were often stolen from their public posting places and reappeared in the living rooms of middle-class homes, making his posters "the Trojan Horse of modern aesthetics."
Toulouse-Lautrec's seemingly endless capacity for debauched revelry and his larger-than-life persona are undeniable. Yet hisart is as complex as he was, more varied and disturbing than it has been perceived in our century. Sweetman has introduced in "Explosive Acts" an altogether new way of looking at Toulouse-Lautrec, who, along with Oscar Wilde, Felix Feneon, and their cross-Channel cohort of artists, theorists, and writers, was responding to many of the same social issues and political currents we now face at our own turn of the century.
This intriguing book on Goya concentrates on the closing years of the eighteenth century as a neglected milestone in his life.Goya waited until 1799 to publish his celebrated series of drawings, the Caprichos, which offered a personal vision of the world turned upside down. Victor I. Stoichita and Anna Maria Coderch consider how themes of Revolution and Carnival (both seen as inversions of the established order) were obsessions in Spanish culture in this period, and make provocative connections between the close of the 1700s and the end of the Millennium. Particular emphasis is placed on the artist's links to the underground tradition of the grotesque, the ugly and the violent. Goya's drawings, considered as a personal and secret laboratory, are foregrounded in a study that also reinterprets his paintings and engravings in the cultural context of his time.
Soldier, Artist, Monk is a collection by Brother Placid Stuckenschneider OSB of his thoughts and memories that covers over fifty years. He grew up in Montana, but soon found himself on board a US Troop Ship leaving San Francisco harbor. Pacific Stars and Stripes was the first publication to publish drawings by "Stucky" when he was serving at the end of World War II in the Philippines and Occupied Japan. After a brief sojourn at Layton Art in Milwaukee, young Mr. Stuckenschneider entered the Benedictine monastery of Saint John's Abbey in central Minnesota to try his vocation. For many years his artistic creations enhanced publications of Liturgical Press, especially the many covers he created for Bible and Liturgy Bulletin. Throughout his life as a monk he sought to balance the three elements of Benedictine monastic life: Work, Reading and Prayer.
From the Author of "Frida," the Moving and Heroic Story of One of the Central Painters of the Twentieth Century
Born in Turkey around 1900, Vosdanik Adoian escaped the massacres of Armenians in 1915 only to watch his mother die of starvation and his family scatter in their flight from the Turks. Arriving in America in 1920, Adoian invented the pseudonym Arshile Gorky-- and obliterated his past. Claiming to be a distant cousin of the novelist Maxim Gorky, he found work as an art teacher and undertook a program of rigorous study, schooling himself in the modern painters he most admired, especially Ce zanne and Picasso. By the early forties, Gorky had entered his most fruitful period and developed the style that is seen as the link between European modernism and American abstract expressionism. His masterpieces influenced the great generation of American painters in the late forties, even as Gorky faced a series of personal catastrophes: a studio fire, cancer, and a car accident that temporarily paralyzed his painting arm. Further demoralized by the dissolution of his seven-year marriage, Gorky hanged himself in 1948.
A sympathetic, sensitive account of artistic and personal triumph as well as tragedy, Hayden Herrera' s biography is the first to interpret Gorky' s work in depth. The result of more than three decades of scholarship-- and a lifelong engagement with Gorky' s paintings-- "Arshile Gorky" traces the progress from apprentice to master of the man Andre Breton called " the most important painter in American history."
Benvenuto Cellini was a celebrated Renaissance sculptor and goldsmith - a passionate craftsman who was admired and resented by the most powerful political and artistic personalities in sixteenth-century Florence, Rome and Paris. He was also a murderer and a braggart, a shameless adventurer who at different times experienced both papal persecution and imprisonment, and the adulation of the royal court. Inn-keepers and prostitutes, kings and cardinals, artists and soldiers rub shoulders in the pages of his notorious autobiography: a vivid portrait of the manners and morals of both the rulers of the day and of their subjects. Written with supreme powers of invective and an irrepressible sense of humour, this is an unrivalled glimpse into the palaces and prisons of the Italy of Michelangelo and the Medici.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Thomas Eakins was misunderstood in life, his brilliant work earned little acclaim, and hidden demons tortured and drove him. Yet the portraits he painted more than a century ago captivate us today, and he is now widely acclaimed as the finest portrait painter our nation has ever produced. This book recounts the artist s life in fascinating detail, drawing on a treasure trove of Eakins family correspondence and papers that have only recently been discovered.Never before has Thomas Eakins s story been told with such drama, clarity, and accuracy. Sidney Kirkpatrick sets the painter s life and art in the wider context of the changing world he devoted himself to portraying, and he also addresses the artist s private lifethe contradictory impulses, obsessions, and possible psychological illness that fired his work. Kirkpatrick underscores Eakins s unflinching integrity as an artist and discloses how his profound appreciation of the beauty of the human form was both the source of his greatness and ultimately of his undoing. Nevertheless, the author observes, Eakins has had his revenge, inspiring a new generation of realist painters and gaining the recognition that eluded him in life.
Thomas Eakins is widely considered one of the great American painters, an artist whose uncompromising realism helped move American art from the Victorian era into the modern age. He is also acclaimed as a paragon of integrity, one who stood up for his artistic beliefs even when they brought him personal and professional difficulty--as when he was fired from the Pennsylvania Academy of Art for removing a model's loincloth in a drawing class.
Yet beneath the surface of Eakins's pictures is a sense of brooding unease and latent violence--a discomfort voiced by one of his sitters who said his portrait "decapitated" her. In Eakins Revealed, art historian Henry Adams examines the dark side of Eakins's life and work, in a startling new biography that will change our understanding of this American icon. Based on close study of Eakins's work and new research in the Bregler papers, a major collection never fully mined by scholars, this volume shows Eakins was not merely uncompromising, but harsh and brutal both in his personal life and in his painting. Adams uncovers the bitter personal feuds and family tragedies surrounding Eakins--his mother died insane and his niece committed suicide amid allegations that Eakins had seduced her--and documents the artist's tendency toward psychological abuse and sexual harassment of those around him.
This provocative book not only unveils new facts about Eakins's life; more important, it makes sense, for the first time, of the enigmas of his work. Eakins Revealed promises to be a controversial biography that will attract readers inside and outside the art world, and fascinate anyone concerned with the mystery of artistic genius.