Nelson-Atkins Museum of Art

Santa Barbara Museum of Art

Richard V. West

Krannert Art Museum

Steven A. Mansbach

With the publication of this stunningly illustrated account of the Hungarian avant-garde movement, an important missing link in early modern art can now be fully recognized. To such well-known names in the west as LAizslA³ Moholy-Nagy and Andor Weininger can now be added the contributions of Lajos KassAik, SAindor Bortnyik, BAla Uitz, and a host of other painters whose significance has long been obscured. The nearly 200 illustrations, many in full color, together with essays by leading American and Hungarian scholars and a comprehensive bibliography and comparative chronology, make this a definitive sourcebook that opens a new chapter in twentieth-century art. During the early twentieth century, central and eastern Europe provided fertile ground for major artistic developments. Hungarian painters, in particular, responded imaginatively and vigorously to the political and social changes leading up to and following World War I by "standing in the tempest" of political activism and attempting to redefine the role of art in society. Only in the past few years has it been possible once again to examine original works of art and to assess properly these painters' vital contribution. Steven A. Mansbach is Dean and Director of the American Academy for the Humanitites at the Central European Institute in Berlin. The Essays: The Avant-Garde: Marching in the Van of Progress, Richard V. West. Introduction, S. A. Mansbach. Hungary: A Brief Political and Cultural History, IstvAin DeAik Revolutionary Engagements: The Hungarian Avant-Garde, S. A. Mansbach. Color, Light, Form, and Structure: New Experiments in Hungarian Painting, 1890-1930, JAlia SzabA³, Hungarian Activism and the Russian Avant-Garde, John E. Bowlt. The Avant Garde in Hungary and Eastern Europe, Krisztina Passuth. Chronology, and bibliography, Oliver A. I. Botar.

Painters of the Hungarian Avant-garde, 1908-1930

Standing in the Tempest

Stuart Cary Welch

Kimbell Art Museum

Asia Society

Anthony Welch

The collection of Prince Sadruddin Aga Khan contains some of the world's finest examples of painting and calligraphy and is perhaps the most important private Muslim collection of Islamic art. This volume, richly illustrated with 24 color plates and 101 black-and-white photographs, provides a brief history of the collection and offers a generous selection of paintings, manuscripts, calligraphies, bindings, and drawings that spans the geographic range of Islamic art from North Africa to India. Detailed discussions of each illustration introduce readers to the major patrons and artists in the development of the arts of the precious book. Anthony Welch and Stuart Cary Welch have selected the most magnificent pages from the prince's collection for this volume. Included are portraits of the great Mughal rulers of India, paintings from the pages of a sixteenth-century Shahnamah (Book of Kings) of Iran, and stunning examples of calligraphy. Among the Muslim manuscripts represented are Qur̕ans from North Africa, Ottoman Turkey, Iran, and India; historical works such as the Ottoman illustrated manuscript of the Tuhfet ul-Leta̕if; philosophical treatises such as the Ethics of Nasir al-Din Tusi of India; and literary works such as the late-sixteenth-century Anvar-i Suhayli, commissioned and probably illustrated by the leading Safavid Iranian painter Sadiqi Bek. -- Inside jacket flap.

The Collection of Prince Sadruddin Aga Khan

Arts of the Islamic Book

Eliot Wooldridge Rowlands

"This extraordinary book is the first in a projected series of specialized catalogues documenting the permanent collections of The Nelson-Atkins Museum of Art in Kansas City, Missouri. The collection of Italian paintings, a total of sixty works, is a representative one for the years 1300-1800 with significant examples from all major schools." "Each catalogue entry, written by Eliot W. Rowlands, includes a thorough and lively biography on the artist; complete technical notes and a detailed description; a fully documented commentary with a discussion of attribution, date, subject, and function; an exacting list of references that also summarizes the critical history of each work; and a full account of exhibition history and provenance. All the Italian paintings in the Nelson-Atkins collection are reproduced in full color, and there are over 200 black-and-white comparative illustrations."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Italian paintings, 1300-1800

The Collections of The Nelson-Atkins Museum of Art

J. Paul Getty Museum

Keith F. Davis

Ray K. Metzker

Ju Zugazagoitia

Henry Art Gallery

Keith Davis explores the roots of Metzker's innovative vision, from his early interest in photojournalism through his studies at Chicago's Institute of Design in the 1950s, and his bold innovations of the 1960s and 1970s.

The Photographs of Ray K. Metzker

Albert Bloch

Städtische Galerie im Lenbachhaus und Kunstbau (Munich, Allemagne)

Delaware Art Museum

Stadtische Galerie im Lenbachhaus Munchen

American artist Albert Bloch lived in Munich from 1909 to 1923, where he met and worked with Wassily Kandinsky and Franz Marc, the founders of the revolutionary Blue Rider group. Until now, he has hardly been mentioned in any of the major accounts of the group. This text examines Bloch's complete oeuvre, including six paintings he contributed to the first Blue Rider exhibition, with illustrations of all his key works. An extensive anthology includes his correspondence with Kandinsky, Marc and other well-known contemporaries, as well as the texts of the lectures he gave after he returned to America in 1923 to teach. These include the "Denver Lecture", in which he provides a unique perspective of the times and talents of the Blue Rider artists. To preserve the literary style and integrity of Bloch's writings, these are reprinted in either the English or German language in which they were originally written.

Albert Bloch, the American Blue Rider

Edward Lebow

Ken Ferguson

Marieke de Winkel

Ronni Baer

Museum of Fine Arts, Boston

Henk F. K. van Nierop

The Dutch Republic in the seventeenth century was home to one of the greatest flowerings of painting in the history of Western art. Freed from the constraints of royal and church patronage, artists created a rich outpouring of naturalistic portraits, genre scenes and landscapes that circulated through a newly open market to patrons and customers at every level of Dutch society. Their closely observed details of everyday life offer a wealth of information about the possessions, activities and circumstances that distinguished members of social classes, from the nobility to the urban poor. The dazzling array of paintings gathered here - from artists such as Frans Hals, Jan Steen and Gerrit Dou, as well as Rembrandt and Vermeer - illuminated by essays by leading specialists, invite us to explore a vibrant early modern society and its reflection in a golden age of brilliant painting.

Dutch Painting in the Age of Rembrandt and Vermeer

Class Distinctions

Nelson-Atkins Museum of Art

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