Walter Pach was an artist, critic, lecturer, art adviser, and art historian who wrote extensively about modern art and championed the cause of modern art. Through his numerous books, articles, and translations of European art texts Pach brought the emerging modernist viewpoint to the American public. Pach's fluency in French, German, and Spanish made it possible for him to understand and interpret the avant-garde ideas developing in Europe and translate them for the English-speaking audience. He was able to communicate personally with many noted artists in Europe and Mexico and mediate between gallery dealers and museum curators on their behalf. This is an interesting look at the American art scene (and a little peak at the Parisian scene) and how Americans especially appreciated art in the late nineteenth and early 20th century.

The story of the most important art show in U.S. history. Held at Manhattan’s 69th Regiment Armory in 1913, the show brought modernism to America in an unprecedented display of 1300 works by artists including Picasso, Matisse, and Duchamp, A quarter of a million Americans visited the show; most couldn’t make sense of what they were seeing. Newspaper critics questioned the artists’ sanity. A popular rumor held that the real creator of one abstract canvas was a donkey with its tail dipped in paint. The Armory Show went on to Boston and Chicago and its effects spread across the country. American artists embraced a new spirit of experimentation as conservative art institutions lost all influence. New modern art galleries opened to serve collectors interested in buying the most progressive works. Over time, the stage was set for American revolutionaries such as Jackson Pollock, Mark Rothko, Roy Lichtenstein, and Andy Warhol. Today, when museums of modern and contemporary art dot the nation and New York reigns as art capital of the universe, we live in a world created by the Armory Show. Elizabeth Lunday, author of the breakout hit Secret Lives of Great Artists, tells the story of the exhibition from the perspectives of organizers, contributors, viewers, and critics. Brimming with fascinating and surprising details, the book takes a fast-paced tour of life in America and Europe, peering into Gertrude Stein’s famous Paris salon, sitting in at the fabulous parties of New York socialites, and elbowing through the crowds at the Armory itself.

The first biography of America's greatest twentieth-century sculptor, Alexander Calder: an authoritative and revelatory achievement, based on a wealth of letters and papers never before available, and written by one of our most renowned art critics. Alexander Calder is one of the most beloved and widely admired artists of the twentieth century. Anybody who has ever set foot in a museum knows him as the inventor of the mobile, America's unique contribution to modern art. But only now, forty years after the artist's death, is the full story of his life being told in this biography, which is based on unprecedented access to Calder's letters and papers as well as scores of interviews. Jed Perl shows us why Calder was--and remains--a barrier breaker, an avant-garde artist with mass appeal. This beautifully written, deeply researched book opens with Calder's wonderfully peripatetic upbringing in Philadelphia, California, and New York. Born in 1898 into a family of artists--his father was a well-known sculptor, his mother a painter and a pioneering feminist--Calder went on as an adult to forge important friendships with a who's who of twentieth-century artists, including Joan Miró, Marcel Duchamp, Georges Braque, and Piet Mondrian. We move through Calder's early years studying engineering to his first artistic triumphs in Paris in the late 1920s, and to his emergence as a leader in the international abstract avant-garde. His marriage in 1931 to the free-spirited Louisa James--she was a great-niece of Henry James--is a richly romantic story, related here with a wealth of detail and nuance. Calder's life takes on a transatlantic richness, from New York's Greenwich Village in the Roaring Twenties, to the Left Bank of Paris during the Depression, and then back to the United States, where the Calders bought a run-down old farmhouse in western Connecticut. New light is shed on Calder's lifelong interest in dance, theater, and performance, ranging from the Cirque Calder, the theatrical event that became his calling card in bohemian Paris to collaborations with the choreographer Martha Graham and the composer Virgil Thomson. More than 350 illustrations in color and black-and-white--including little-known works and many archival photographs that have never before been seen--further enrich the story.

"Explores the career of Walter Pach (1883-1958), an influential figure in twentieth-century art and culture. As critic, agent, liaison, and lecturer, Pach helped win the acceptance of modern European, American, and Mexican art throughout the North American continent"--Provided by publisher.

The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.

In Facing Facts, David Shi provides the most comprehensive history to date of the rise of realism in American culture. He vividly captures the character and sweep of this all-encompassing movement - ranging from Winslow Homer to the rise of the Ash Can school, from Whitman to Henry James to Theodore Dreiser. He begins with a look at the antebellum years, when idealistic themes were considered the only fit subject for art (Hawthorne wrote that "the grosser life is a dream, and the spiritual life is a reality"). Whitman's assault on these otherworldly standards coincided with sweeping changes in American society: the bloody Civil War, the aggressive advance of a modern scientific spirit, the emergence of photography and penny newspapers, the expansion of cities, capitalism, and the middle class - all worked to shake the foundations of genteel idealism and sentimental romanticism. The public developed an ever-expanding appetite for concrete facts and for art that accurately depicted them. As Shi proceeds through the nineteenth century, he traces the realist impulse in each major area of arts and letters, combining an astute analysis of the movement's essential themes with incisive portraits of its leading practitioners. Here we see Oliver Wendell Holmes, Jr., shaken to stern realism by the horrors of the Civil War; the influence of Walt Whitman on painter Thomas Eakins and architect Louis Sullivan, a leader of the Chicago school; the local-color verisimilitude of Louisa May Alcott and Sarah Orne Jewett; and the impact of urban squalor on intrepid young writers such as Stephen Crane. In the process of surveying nineteenth-century cultural history, Shi provides fascinating insights into thespecific concerns of the realist movement - in particular, the nation's growing obsession with gender roles. Realism, he observes, was in part an effort to revive masculine virtues in the face of effeminate sentimentality and decorous gentility. By the end of the nineteenth century, realism had displaced idealism as the dominant approach in thought and the arts. During the next two decades, however, a new modernist sensibility challenged the fact-devouring emphasis of realism: "Is it not time", one critic asked, "that we renounce the heresy that it is the function of art to record a fact?" Shi examines why so many Americans answered yes to this question, under influences ranging from psychoanalysis to the First World War. Nuanced, detailed, and comprehensive, Facing Facts provides the definitive account of the realist phenomenon, revealing its essential causes, explaining why it played so great a role in American cultural history, and suggesting why it retains its perennial fascination.

This is a biography of Forbes Watson, art commentator for the New York Evening Post and New York World but probably best known as the editor of The Arts, an influential art magazine of the 1920s.

Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.

George Bellows's spirited and virile paintings of New York in the early decades of the twentieth century celebrated the city's bigness and bolness. Although these works clearly challenged the conservative practices of the National Academy and linked Bellows with the anti-academic art of Robert Henri and the Eight, they were highly popular, even with arch-conservatives. In this book Marianne Doezema explores why it was that Bellows's paintings--despite being considered coarse in technique and subject matter--were acclaimed by critics and patrons, by conservatives, progressives, and radicals alike. Doezema focuses on three of Bellows's principal urban themes: the excavation for Pennsylvania Station, prizefights, and tenement life on the Lower East Side. Drawing on journals and periodicals of the period, she discusses how the prominent, often newsworthy motifs painted by Bellows evoked particular associations and meanings for his contemporaries. Arguing that the implicit message of these paintings was distinctly unrevolutionary, she shows that the excavation paintings celebrated industrialization and urbanization, the boxing pictures presented the sport as brutal and its fans as bloodthirsty, and the depictions of the Lower East Side conformed to a moralistic, middle-class view of poverty. In many of Bellows's subject pictures of this era, says Doezema, the artist approached issues of changing moral and social values in a way that not only seemed congenial to many members of his audience but also verified their attitudes and preconceptions about urban life in America.