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Coming Home: American Paintings, 1930/1950, from the Schoen CollectionCatalog of a traveling exhibition held at the Mobile Museum of Art, the Georgia Museum of Art, and three other institutions between Oct. 17, 2003 and Nov. 27, 2005.
Whiting examines the various manifestations of antifacist art, showing how each negotiated the competing demands of artistic conventions, aesthetic and political theories, and historical developments.
A mural renaissance swept the United States in the 1930s, propelled by the New Deal Federal Art Project and the popularity of Mexican muralism. Perhaps nowhere more than in New York City, murals became a crucial site for the development of abstract painting Artists such as Stuart Davis, Arshile Gorky, Willem de Kooning, and Lee Krasner created ambitious works for the Williamsburg Housing Project, Floyd Bennett Field Airport, and the 1939 World’s Fair. Modernism for the Masses examines the public murals (realized and unrealized) of these and other abstract painters and the aesthetic controversy, political influence, and ideological warfare that surrounded them. Jody Patterson transforms standard narratives of modernism by reasserting the significance of the 1930s and explores the reasons for the omission of the mural’s history from chronicles of American art. Beautifully illustrated with the artists’ murals and little-known archival photographs, this book recovers the radical idea that modernist art was a vital part of everyday life.
Focusing on 19th-and 20th-century European, American and Israeli artists, the contributors explore the ways in which Jewish artists have responded to their Jewishness and to the societies in which they lived (or live), and how these factors have influenced their art, their choice of subject matter, and presentation of their work.
A Collection of Yiddish tales depicting Jewish life in the shtetls in Eastern Europe. Depicting Jewish life in the shtetl from the Middle Ages to the twentieth century, this collection of tales traces a literary development from religious writings and Hassidic yarns to latter-day realism, fantasy, and satire. The crazy quilt of Jewish life emerges in the different tones and styles of the various stories. Humor and suffering, faith and rationalist parody, romantic love and sordid cruelty- a panorama of shtetl life unfolds before us, conjuring up all the colors of a bygone world. Included are short novels, stories, and tales, most of which have never been translated into English before. -- Publisher description
Goodness has nothing to do with it as a hard-luck private eye in 1940s Hollywood takes a case for legendary silver screen sex symbol Mae West. In the early days of talking pictures, the greatest sex symbol in Hollywood was the platinum-blonde bad girl Mae West. Naughty and gorgeous with a razor-sharp wit, West wrote her own material and controlled her own image—until the censors came in and outlawed the racy repartee that made her famous. By the forties, her star has faded and she’s banking everything on a scandalous memoir that she hopes will set the stage for a comeback. When the only copy is stolen, she calls in a favor from an old beau—the brother of wisecracking PI Toby Peters. When Mae West asks, “Why don’t you come up sometime and see me?” you don’t say no. Peters arrives at a party at West’s house, where every guest is a man dressed as the woman herself—and one of them may be the thief who stole the manuscript. But before he can tear off the culprit’s wig, Peters finds that this is about more than theft. The crook wants to destroy Mae West, and he has murder on his mind. The star of Edgar Award winner Stuart M. Kaminsky’s fun forties private eye series, “Peters is a good guy with a sense of humor, and every appearance he makes is a welcome one” (Booklist).
The Nobel Prize–winning social critic examines the absurdities and moral indignities of modern incarceration in this classic work. Best known for his theatrical works of biting social satire, George Bernard Shaw was also a committed political activist who, at various times, found himself in conflict with the law. Though he was never arrested, Shaw was deeply concerned with the experience of imprisonment and its debilitating effects on inmates. In this polemical study of the contemporary prison system, Shaw dismantles many of the standard arguments for harsh prison sentences. He argues that the impulse for retribution is at odds with the goal of reform, and that prison often fosters greater criminality rather than acting as a deterrent.