This examination of Braque's career features exquisite reproductions and incisive historical and aesthetic investigations of his work leading up to and during World War II. This book offers the first detailed examination of Braque's experiments with still lifes and interiors during a significant, though overlooked, time in his career. One of the leading founders of Cubism, Braque employed the genre of the still life to conduct a lifelong investigation into the nature of perception through the tactile and transitory world of everyday objects. Examining a transitional time between Braque's early Cubist works and his late grand series, this catalog considers his paintings within the cultural and political context of Europe at this time. Reproduced in vivid color, Braque's paintings are accompanied by scholarly essays that explore the rise of Braque's popularity in the US, including his first major retrospective in America, and the reception of his work of the early 1930s and 1940s by German and French critics, as well as a behind-the-scenes look at the materials and process employed by the artist as illuminated by an intensive conservation study of select important works.

"This examination of Braque's career features exquisite reproductions and incisive historical and aesthetic investigations of his work leading up to and during World War II. This book offers the first detailed examination of Braque's experiments with still lifes and interiors during a significant, though overlooked, time in his career. One of the leading founders of Cubism, Braque employed the genre of the still life to conduct a lifelong investigation into the nature of perception through the tactile and transitory world of everyday objects. Examining a transitional time between Braque's early Cubist works and his late grand series, this catalog considers his paintings within the cultural and political context of Europe at this time. Reproduced in vivid color, Braque's paintings are accompanied by scholarly essays that explore the rise of Braque's popularity in the US, including his first major retrospective in America, and the reception of his work of the early 1930s and 1940s by German and French critics, as well as a behind-the-scenes look at the materials and process employed by the artist as illuminated by an intensive conservation study of select important works."--Publisher's website.

The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange.

This book reveals how everyday experiences of being ‘modern’ (c. 1920s-70s) indexed continuity and change in the transition from colonialism to independence and after in Southeast Asia. In the Philippines, Myanmar, Indonesia, Malaysia, Singapore, Thailand and Vietnam, the contributors to this interdisciplinary volume recover modern times at the intersection of public and private domains, encompassing sex, religion, art, film, literature and urban space. The authors examine the conditions and representations of modernity, as shaped by elites and the governed, by actors, artists, novelists and non-fiction writers. Plural encounters in cities, through spiritual communities, art, high and popular culture saw Southeast Asians fashioning modern times in dialogue with global capitalism, consumer culture and second-wave feminism.

This beautifully illustrated volume tells the story of Cubism through twenty-two essays that explore the most significant private holding of Cubist art in the world today, the Leonard A. Lauder Collection, now a promised gift to The Metropolitan Museum of Art. The eighty works featured in this volume—by Georges Braque, Juan Gris, Fernand Léger, and Pablo Picasso‐are among the most important and visually arresting in the movement’s history. These masterpieces, critical to the development of Cubism, include such groundbreaking paintings as Braque’s Trees at L’Estaque, considered one of the very first Cubist pictures; Picasso’s Still Life with Fan: “L’Indépendant,” one of the first to introduce typography; Gris’s noirish, uncanny The Man at the Café, one of his most celebrated collages; and Léger’s uniquely ambitious Composition (The Typographer). Written by renowned experts on this subject, the essays trace the evolution of Cubism from its origins in the still lifes, portraits, and collages of Braque and Picasso through the precisely delineated compositions by Gris that prefigure the Synthetic Cubism of the war years to Léger’s distinctive intersections of spherical, cylindrical, and cubic forms that evoke the syncopated rhythms of modern life. Also included are a fascinating interview in which Leonard Lauder discusses his approach to collecting, an investigative essay on the information gleaned from the backs of the works themselves, and an authoritative catalogue that further establishes the lives of these magnificent objects. A publication to place alongside the great histories of Modernism, this comprehensive book will stand as the resource for understanding Cubism for many years to come. -

"The vibrant late paintings of Pierre Bonnard (1867-1947) are considered by many to be among his finest achievements. Working in a small converted bedroom of his villa in the south of France, Bonnard suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at hand-usually everyday scenes taken from his immediate surroundings, such as the dining room table being set for breakfast, or a jug of flowers perched on the mantelpiece - Bonnard rarely painted from life. Instead, he preferred to make pencil sketches in small diaries and then rely on these, along with his memory, once in the studio." "This volume, which accompanies the first exhibition to focus on the interior and related still-life imagery from the last decades of Bonnard's long career, presents more than seventy-five paintings, drawings, and works on paper, many of them rarely seen in public and in some cases, little known. Although Bonnard's legacy may be removed from the succession of trends that today we consider the foundation of modernism, his contribution to French art in the early decades of the twentieth century is far more profound than history has generally acknowledged. In their insightful essays and catalogue entries the authors bring fresh critical perspectives to the ongoing reappraisal of Bonnard's reputation and to his place within the narrative of twentieth-century art."--Jacket

Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.