Catalan Art From The Ninth To The Fifteenth Centuries

Catalogus van een tentoonstelling van werk van Catalaanse kunstenaars.

This book explores, through a multidisciplinary approach, the immense influence exerted by Bernard Shaw on the Spanish-speaking world on both sides of the Atlantic. This collection of essays encompasses the reception and dissemination of his ideas; the translation of his works into Spanish; the performance history of his plays in Spain and Latin America; and Shaw’s influence on many key figures of literature in Spanish. It begins by delving into Shaw’s knowledge of Spanish literature and gauging his acquaintance with the Spanish cultural milieu throughout his tenure as an art, music, and theatre critic. His early exposure to Spanish-speaking culture later made the return trip in the form of profuse critical reception and theatrical success in countries like Spain, Argentina, Mexico, and Uruguay. This allows for a more detailed investigation into the unmistakable mark that Bernard Shaw left in the oeuvre of leading Spanish-speaking authors like Ramiro de Maeztu, Jorge Luis Borges or Nemesio Canales. This volume also assesses the translations of Shaw’s works into Spanish—while also providing a detailed publication history of these translations.

The poetry of John Berryman occupies an incomparable place in modern American literature. This study traces the composition of the major poems, and interprets Berryman's characteristic trials and his imaginative triumphs. In Homage to Mistress Bradstreet , which Edmund Wilson called ' the most distinguished long poem by an American since The Waste Land ', Berryman set himself enormous problems of theme and form, and overcame them with the vigorous and exciting craft that is described in this book. He transformed his personal concerns and historical interests into a fully achieved artistic unity, a poem which succeeds both as lyric and as drama. Similarly, in forging the thirteen-year 'epic' of The Dream Songs , 'the tragical history of Henry', as the poet himself called it, Berryman resolutely confronted chosen models such as Don Quixote and The Iliad , and eventually realised his own design and a unique poetic voice. 'I set up the 'Bradstreet' poem as an attack on 'The Waste Land' ' Berryman said in his National Book Award Acceptance Speech; 'I set up ' The Dream Songs ' as hostile to every visible tendency in both American and English poetry...The aim was the same in both poems: the reproduction or invention of the motions of a human personality, free and determined, in one case feminine, in the other masculine.' A chief feature of this study is the remarkably extensive use John Haffenden has made of primary research materials - manuscript drafts, notes, marginalia, diary entries and letters, all of which are printed here for the first time - to illuminate and explain the poems. This book is both a critical analysis of Berryman's mature works and an internal narrative of the poet's struggles and success. It includes comprehensive notes and commentary on 'The Dream Songs' and on 'Delusions, Etc.' , as well as an authoritative discussion and assesment of 'Love & Fame'.

The beautifully illustrated fourth volume of Picasso’s life—set in France and Spain during the Spanish Civil War and World War II—covers friendships with the surrealist painters; artistic inspiration around Guernica and the Minotaur; and his muses Marie-Thérèse, Dora Maar, and Françoise Gilot; and much more. Including 271 stunning illustrations and drawing on original and exhaustive research from interviews and never-before-seen material in the Picasso family archives, this book opens with a visit by the Hungarian-French photographer Brassaï to Picasso’s chateau in Normandy, Boisgeloup, where he would take his iconic photographs of the celebrated plaster busts of Marie-Thérèse, Picasso’s mistress and muse. Picasso was contributing to André Breton’s Minotaur magazine and he was also spending more time with the likes of Man Ray, Salvador Dalí, Lee Miller, and the poet Paul Éluard, in Paris as well as in the south of France. It was during this time that Picasso began writing surrealist poetry and became obsessed with the image of himself as the mythic Minotaur—head of a bull, body of a man—and created his most famous etching, Minotauromachie. Richardson shows us the artist is as prolific as ever, painting Marie-Thérèse, but also painting the surrealist photographer Dora Maar who has become a muse, a collaborator and more. In April 1937, the bombing of the town of Guernica during the Spanish Civil War inspires Picasso’s vast masterwork of the same name, which he paints in just a few weeks for the Spanish Pavilion at the Paris World’s Fair. When the Nazis occupy Paris in 1940, Picasso chooses to remain in the city despite the threat that his art would be confiscated. In 1943, Picasso meets Françoise Gilot who would replace Dora, and as Richardson writes, “rejuvenate his psyche, reawaken his imagery and inspire a brilliant sequence of paintings.” As always, Richardson tells Picasso’s story through his work during this period, analyzing how it shows what the artist was feeling and thinking. His fascinating and accessible narrative immerses us in one of the most exciting moments in twentieth century cultural history, and brings to a close the definitive and critically acclaimed account of one of the world’s most celebrated artists.

This title was first published in 2003. Drawing on literary, art historical and historical studies, this essay collection explores the complex encounter between culture and politics within Surrealism. The Surrealist movement was one of the first cultural movements to question explicitly the relation between culture and politics, and its attempt to fuse social and cultural revolution has been a critical factor in shaping our sense of modernity. This anthology addresses not only the contested ground between culture and politics within Surrealism itself, and within the subsequent historical accounts of the movement, but also the broader implications of this encounter on our own sense of modernity. Its goal is to delineate the role of radical politics in shaping the historical trajectory of Surrealism.

Museums, Modernity and Conflict examines the history of the relationship between museums, collections and war, revealing how museums have responded to and been shaped by war and conflicts of various sorts. Written by a mixture of museum professionals and academics and ranging across Europe, North America and the Middle East, this book examines the many ways in which museums were affected by major conflicts such as the World Wars, considers how and why they attempted to contribute to the war effort, analyses how wartime collecting shaped the nature of the objects held by a variety of museums, and demonstrates how museums of war and of the military came into existence during this period. Closely focused around conflicts which had the most wide-ranging impact on museums, this collection includes reflections on museums such as the Louvre, the Stedelijk in the Netherlands, the Canadian War Museum and the State Art Collections Dresden. Museums, Modernity and Conflict will be of interest to academics and students worldwide, particularly those engaged in the study of museums, war and history. Showing how the past continues to shape contemporary museum work in a variety of different and sometimes unexpected ways, the book will also be of interest to museum practitioners.