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The Collected Essays and Criticism, Volume 1
Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States. Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, "Avant-Garde and Kitsch" set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day.
Writings on Art
The first collection of Mark Rothko's writings, which range the entire span of his career While the collected writings of many major 20th-century artists, including Barnett Newman, Robert Motherwell, and Ad Reinhardt, have been published, Mark Rothko's writings have only recently come to light, beginning with the critically acclaimed The Artist's Reality: Philosophies of Art. Rothko's other written works have yet to be brought together into a major publication. Writings on Art fills this significant void; it includes some 90 documents--including short essays, letters, statements, and lectures--written by Rothko over the course of his career. The texts are fully annotated, and a chronology of...
Mark Rothko
This is the first volume of the catalogue raisonne of the work of Mark Rothko, the abstract artist. It documents Rothko's entire output of paintings on canvas and panel, reproducing all the works in colour. An introductory text investigates the essential features of Rothko's art.
Making Modernism
Artists don't achieve financial success and critical acclaim during their lifetimes as a result of chance or luck. Michael FitzGerald's assiduously researched book documents Picasso's courting of dealers, critics, collectors, and curators as he established his reputation during the first forty years of the twentieth century. FitzGerald describes the care, patience, and resourcefulness invested by Paul Rosenberg, Picasso's dealer and close collaborator from 1918 to 1940, in building the financial value and public acceptance of Picasso's art. The book is based on and quotes generously from previously unpublished correspondence between Picasso and dealers, collectors, and museum curators.
Stieglitz and His Artists
A master photographer, Alfred Stieglitz was also a visionary promoter and avid collector of modern American and European art from the first half of the 20th century. This book is the first fully-illustrated catalogue of works in the unparalleled 'Alfred Stieglitz Collection', which was given to the Metropolitan Museum after Stieglitz's death.
Adolph Gottlieb
Covers the full scope of Gottlieb's achievement.
How New York Stole the Idea of Modern Art
"A provocative interpretation of the political and cultural history of the early cold war years. . . . By insisting that art, even art of the avant-garde, is part of the general culture, not autonomous or above it, he forces us to think differently not only about art and art history but about society itself."—New York Times Book Review
Mark Rothko
A book of heroic dimensions, this is the first full-length biography of one of the greatest artists of the twentieth century—a man as fascinating, difficult, and compelling as the paintings he produced. Drawing on exclusive access to Mark Rothko's personal papers and over one hundred interviews with artists, patrons, and dealers, James Breslin tells the story of a life in art—the personal costs and professional triumphs, the convergence of genius and ego, the clash of culture and commerce. Breslin offers us not only an enticing look at Rothko as a person, but delivers a lush, in-depth portrait of the New York art scene of the 1930s, ’40s, and ’50s—the world of Abstract Expressionis...
Kitsch, Propaganda, and the American Avant-Garde
This book details the dramatic history of the weaponization of avant-garde art as propaganda, from its violent origins selling the idealistic communism of revolutionary France to its use as an American weapon wielded against the Nazi and Soviet threat as World War II began. It shows how art became ammunition in the war of ideas as the protagonists of the Second World War attempted to control the minds of their people. The text highlights how the avant-garde was the battlefield for the epic struggle between collectivism and American individualism, and will appeal to the reader with an interest in vivid stories of art, history, and politics.
Cézanne to Picasso
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