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Herbert Read (1893–1968) acquired in his lifetime a considerable international reputation in all the major areas of his diverse activities: as poet, as educationalist, as anarchist, as philosopher (of aesthetics), as art critic, as historian of, and above all, as propagandist for modern art and design. The papers assembled in Herbert Read Reassessed offer a comprehensive and authoritative coverage of Read’s life work that is designed to stimulate debate. "An impressive volume... it manages to present a unified but not totalizing portrait of one of England’s most distinguished twentieth-century critics."—English Historical Review

1) manuscript of Read's novel 'The Green Child' (box 18); 2) manuscript of Read's play 'The Parliament of Women: a drama in three acts', 1960; 3) manuscripts of Read's non-fiction monographs: 'Arp', 1968, 'Art and Alienation: the role of the artist in society', 1967, 'The Beautiful and the Sublime: An Introduction to the Visual Arts' (renamed afterwards?); 'Creative Humanism' (renamed afterwards?); 'The Redemption of the Robot: my encounter with education through art', 1966; 4) typescripts and manuscripts of various essays, articles, speeches, and lectures by Read; 5) manuscripts and typescripts of Read's poetry; 6) Read's correspondence (mainly from 1965 to 1968) with W.H. Auden, Ian Bevan, André Breton, Basil Bunting, Edward Dahlberg, Valentine and Bonamy Dobrée, T.S. Eliot, Ruth Francken, Graham Greene, Michael Hamburger, Jean Hélion, Rayner Heppenstall, Barbara Hepworth, Dom Sylvester Houedard, Carl Jung, G. Wilson Knight, Oskar Kokoschka, Pierre Matisse, Henry Miller, Joan Miró, Henry Moore, Victor Pasmore, Roland Penrose, Kathleen Raine, and thousands of other individuals and institutions (in many cases carbon copies of Read's part of the correspondence also survives); 7) photographs and slides of art work, sometimes accompanied by related correspondence with artists; 8) personal photographs; and 9) miscellaneous material including personal items (domestic and financial records, passports, pocket diaries) and Lady Margaret Read's material including manuscript music, plans and programmes related to the Hovingham Hall Festival.

The role of art in Marcuse’s work has often been neglected, misinterpreted or underplayed. His critics accused him of a religion of art and aesthetics that leads to an escape from politics and society. Yet, as this volume demonstrates, Marcuse analyzes culture and art in the context of how it produces forces of domination and resistance in society, and his writings on culture and art generate the possibility of liberation and radical social transformation. The material in this volume is a rich collection of many of Marcuse’s published and unpublished writings, interviews and talks, including ‘Lyric Poetry after Auschwitz’, reflections on Proust, and Letters on Surrealism; a poem by Samuel Beckett for Marcuse’s eightieth birthday with exchange of letters; and many articles that explore the role of art in society and how it provides possibilities for liberation. This volume will be of interest to those new to Marcuse, generally acknowledged as a major figure in the intellectual and social milieus of the 1960s and 1970s, as well as to the specialist, giving access to a wealth of material from the Marcuse Archive in Frankfurt and his private collection in San Diego, some of it published here in English for the first time. A comprehensive introduction by Douglas Kellner reflects on the genesis, development, and tensions within Marcuse’s aesthetic, while an afterword by Gerhard Schweppenhäuser summarizes their relevance for the contemporary era.

This is a new release of the original 1945 edition.

The description for this book, The Art of Sculpture, will be forthcoming.