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Catalog of an exhibition held at Portland Museum of Art, Portland, Maine, May 26-September 8, 2017; Memphis Brooks Museum of Art, Memphis, Tennessee, October 14, 2017-January 7, 2018; and at Amon Carter Museum of American Art, Fort Worth, Texas, February 17-May 13, 2018.
During the hayday of Abstract Espressionism, Symour Lipton was probably the most admired sculptor.
This book focuses on avant-garde literature and art in Europe and America during the first quarter of the twentieth century. It examines five movements that shaped our response to the demands of the modern age and contributed to the creation of a modern sensibility: Cubism, Futurism, the Metaphysical School, Dada, and Surrealism. Each of these arose in response to recent scientific, technological, and/or philosophical developments that drastically affected modern civilization. In turn, each was responsible for a major paradigm shift that altered the way in which we view—and respond to--the world around us. The final chapter is comparative in nature and studies the role of the mannequin in literature and art during the same period.
This book provides an overview of the various forms and trajectories of Great Power policy towards Central Europe between 1914 and 1945. This involves the analyses of diplomatic, military, economic and cultural perspectives of Germany, Russia, Britain, and the USA towards Hungary, Poland, the Baltic States, Czechoslovakia and Romania. The contributions of established, as well as emerging, historians from different parts of Europe enriches the English language scholarship on the history of the international relations of the region. The volume is designed to be accessible and informative to both historians and wider audiences. Contributors: Sorin Arhire, Ivan Basenko, Agne Cepinskyte, Oleg Ken, Tamás Magyarics, Halina Parafianowicz, Alexander Rupasov, Ignác Romsics and Artem Zorin.
This book presents the fascinating untold story of art-world tastemaker Edith Halpert, who sold, promoted, and effectively defined American art in the 20th century.
A major revision of our understanding of long-range bombing, this book examines how Anglo-American ideas about "strategic" bombing were formed and implemented. It argues that ideas about bombing civilian targets rested on--and gained validity from--widespread but substantially erroneous assumptions about the nature of modern industrial societies and their vulnerability to aerial bombardment. These assumptions were derived from the social and political context of the day and were maintained largely through cognitive error and bias. Tami Davis Biddle explains how air theorists, and those influenced by them, came to believe that strategic bombing would be an especially effective coercive tool and how they responded when their assumptions were challenged. Biddle analyzes how a particular interpretation of the World War I experience, together with airmen's organizational interests, shaped interwar debates about strategic bombing and preserved conceptions of its potentially revolutionary character. This flawed interpretation as well as a failure to anticipate implementation problems were revealed as World War II commenced. By then, the British and Americans had invested heavily in strategic bombing. They saw little choice but to try to solve the problems in real time and make long-range bombing as effective as possible. Combining narrative with analysis, this book presents the first-ever comparative history of British and American strategic bombing from its origins through 1945. In examining the ideas and rhetoric on which strategic bombing depended, it offers critical insights into the validity and robustness of those ideas--not only as they applied to World War II but as they apply to contemporary warfare.
The Metropolitan Museum of Art has long been renowned for its collection of American sculpture, in particular its world-famous American Neoclassical marbles. This volume contains eight papers presented at a symposium held at the Museum on October 26, 2001, upon the publication of American Sculpture in The Metropolitan Museum of Art. The contributors, who include art historians, museum professionals, and independent scholars, offer a fascinating cross section of current thematic interests and scholarly approaches to American sculpture. Each contributor takes as their starting point a sculpture or group of sculptures in the Metropolitan's collection, presenting a wide variety of approaches to the study and understanding of these works.