Dearborn's unprecedented access to Guggenheim's family, friends, and papers contributes rich insight to her traumatic childhood in New York, her self-education in the ways of art and artists, her battles with other art-collecting Guggenheims, and her legendary sexual appetites.

This new biography of Peggy Guggenheim charts the life of the infamous, multi-talented art collector and personality. Great-granddaughter of Swiss immigrant Simon Guggenheim, and daughter of Benjamin Guggenheim, who went down on the Titanic, Peggy Guggenheim was an extremely controversial figure, censured for everything from stinginess to sexual voraciousness. She was known for taking lovers at the drop of a beret as much as for her choices in modern art. Known as the enfant terrible of the art world, Peggy Guggenheim was one of its most significant patrons and promoters as well as its impresario, with her personal and professional life intermingled. A captivating story of Peggy Guggenheim; her charismatic personality and her talents, the culture that shaped her and that she went on to transform. Mary Dearborn's colourful personal and cultural biography locates Peggy Guggenheim in an array of shifting and colliding cultures, providing a story of this complicated and talented woman and the culture that shaped her and that she went on to transform.

In her captivating memoir, Out of This Century: The Informal Memoirs of Peggy Guggenheim, the renowned art collector and socialite takes readers on a fascinating journey through her extraordinary life. From her bohemian upbringing to her pivotal role in shaping the modern art world, Guggenheim's story is one of passion, resilience, and an unwavering commitment to the avant-garde. This intimate and candid account offers a rare glimpse into the mind of a visionary who left an indelible mark on the cultural landscape of the 20th century.

A patron of art since the 1930s, Peggy Guggenheim, in a candid self-portrait, provides an insider's view of the early days of modern art, with revealing accounts of her eccentric wealthy family, her personal and professional relationships, and often surprising portrayals of the artists themselves Peggy Guggenheim was born into affluence and a lavish lifestyle. Bored with her seemingly "pedestrian" life in New York, she headed for Europe in 1921, where she woudl sow the seeds for a future as one of modern art's most important and influential figures. In the midst of Europe's avant-garde circles, she reveled in her love affairs with prominent artists and also became a serious collector. Her Guggenheim Jeune gallery in London brought figures such as Brancusi, Cocteau, Kandinsky, and Arp to the forefront of the art scene. Later, her New York gallery would launch the careers of Jackson Pollock and Robert Motherwell, among others. In her own inimitable and bawdy style, Peggy Guggenheim gives us an insider's glimpse into the modern art world with intimate, often surprising portrayals of its most significant players. Candid, clever, and always entertaining, here is a memoir that captures a valuable chapter in the history of modern art, as well as the spirit of one of its greatest advocates.

Peggy Guggenheim -- millionairess, legendary lover, sadomasochist, appalling parent, selective miser -- was one of the greatest and most notorious art patrons of the twentieth century. After her father, Benjamin Guggenheim, went down with the Titanic, the young heiress came into a small fortune and left for Europe. She married the writer Laurence Vail and joined the American expatriate bohemian set. Though her many lovers included such lions of art and literature as Samuel Beckett, Max Ernst (whom she later married), Yves Tanguy, and Roland Penrose, real love always seemed to elude her. In the late 1930s, Peggy set up one of the first galleries of modern art in London, quickly acquiring a magnificent selection of works, buying great numbers of paintings from artists fleeing to America after the Nazi invasion of France. Escaping from Vichy, she moved back to New York, where she was a vital part of the new American abstract expressionist movement. Meticulously researched, filled with colorful incident, and boasting a distinguished cast, Anton Gill's biography reveals the inner drives of a remarkable woman and indefatigable patron of the arts.

A Sunday Times Book of the Year Winner of the Polari Prize 'A book about love, identity, acceptance and the freedom to write, paint, compose and wear corduroy breeches with gaiters. To swear, kiss, publish and be damned. It is vastly entertaining and often moving... There isn't a page without an entertaining vignette' The Times. The extraordinary story of how a singular group of women in a pivotal time and place – Paris, Between the Wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves their stories into those of the four central women to create a vivid moving tapestry of life among the Modernists in pre-War Paris. 'One of the best books I've read this year.' James Bridle

Loie Fuller was the most famous American in Europe throughout the late nineteenth and early twentieth centuries. Rising from a small-time vaudeville career in the States, she attained international celebrity as a dancer, inventor, impresario, and one of the first women filmmakers in the world. Fuller befriended royalty and inspired artists such as Mallarmé, Toulouse-Lautrec, Rodin, Sarah Bernhardt, and Isadora Duncan. Today, though, she is remembered mainly as an untutored "pioneer" of modern dance and stage technology, the "electricity fairy" who created a sensation onstage whirling under colored spotlights. But in Rhonda Garelick's Electric Salome, Fuller finally receives her due as a major artist whose work helped lay a foundation for all modernist performance to come. The book demonstrates that Fuller was not a mere entertainer or precursor, but an artist of great psychological, emotional, and sexual expressiveness whose work illuminates the centrality of dance to modernism. Electric Salome places Fuller in the context of classical and modern ballet, Art Nouveau, Orientalism, surrealism, the birth of cinema, American modern dance, and European drama. It offers detailed close readings of texts and performances, situated within broader historical, cultural, and theoretical frameworks. Accessibly written, the book also recounts the human story of how an obscure, uneducated woman from the dustbowl of the American Midwest moved to Paris, became a star, and lived openly for decades as a lesbian.

This multi-authored volume focuses on Leonard and Virginia Woolf's Hogarth Press (1917-1941). Scholars from the UK and the US use previously unpublished archival materials and new methodological frameworks to explore the relationships forged by the Woolfs

From T.J. Clark comes this provocative study of the origins of modern art in the painting of Parisian life by Edouard Manet and his followers. The Paris of the 1860s and 1870s was a brand-new city, recently adorned with boulevards, cafés, parks, Great Exhibitions, and suburban pleasure grounds—the birthplace of the habits of commerce and leisure that we ourselves know as "modern life." A new kind of culture quickly developed in this remade metropolis, sights and spectacles avidly appropriated by a new kind of "consumer": clerks and shopgirls, neither working class nor bourgeois, inventing their own social position in a system profoundly altered by their very existence. Emancipated and rootless, these men and women flocked to the bars and nightclubs of Paris, went boating on the Seine at Argenteuil, strolled the island of La Grande-Jatte—enacting a charade of community that was to be captured and scrutinized by Manet, Degas, and Seurat. It is Clark's cogently argued (and profusely illustrated) thesis that modern art emerged from these painters' attempts to represent this new city and its inhabitants. Concentrating on three of Manet's greatest works and Seurat's masterpiece, Clark traces the appearance and development of the artists' favorite themes and subjects, and the technical innovations that they employed to depict a way of life which, under its liberated, pleasure-seeking surface, was often awkward and anxious. Through their paintings, Manet and the Impressionists ask us, and force us to ask ourselves: Is the freedom offered by modernity a myth? Is modern life heroic or monotonous, glittering or tawdry, spectacular or dull? The Painting of Modern Life illuminates for us the ways, both forceful and subtle, in which Manet and his followers raised these questions and doubts, which are as valid for our time as for the age they portrayed.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 The Seligmans, Peggy’s family, were a GermanJewish dynasty that had established themselves as a pillar of the community by the time of Peggy’s birth in 1898. They were extremely philanthropic, and women were expected to devote themselves to pursuits of the most haut bourgeois. #2 Joseph Seligman, the eldest brother, was a talented young man who wanted to make money. He set off for America in 1837, and after working for a Yankee boatbuilder for a year, he set off on his own. He soon had enough money to send for his brothers. #3 The Seligmans were now officially in the banking business, just in time for a huge upsurge in the economy. In 1857, Joseph married Babet Steinhardt, a Baiersdorf girl and his first cousin. #4 The Seligman brothers were among the first generation of American immigrants who made good in spectacular fashion. They were close advisers to presidents, and their family became known as the American Rothschilds.