Lavoirs

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Hollis Clayson

"The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took a heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives, and literally thrusting onto the ramparts the many among them who became soldiers.". "But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change - art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguiere, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Louis-Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.". "Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work."--BOOK JACKET.

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Sven A. Kirsten

After World War II, US soldiers stationed in the South Pacific returned home with tales of trees loaded with exotic fruits, sleepy lagoons, white-sand beaches, and gorgeous people wearing grass and feathers as they danced half-naked during all-night orgies of food and music. The American imagination seized on this exotic version of island culture, and it exerted a massive influence on Fashion, pop music, eating and drinking, and even architecture. Everything from bars to bowling alleys adopted elements of Polynesian design. Tikis, the carved wooden and stone statues from across the Pacific, found their way into every hotel lounge and suburban living room. But as the fad was reaching it's peak, the big generation gap of the late 60s put a sudden end to Polynesian escapism as the children of the Tiki revellers decided to seek their own Nirvana in sex, drugs, and rock'n'roll. The 90s have seen a revitalised interest in this kitsch anomaly of post-war America -- lounge bars and the sound of "exotica" are back in. This enlightening and hilarious guide casts the reader as an "urban archaeologist" exploring the lost remnants of Tiki culture across the States -- discovering relics from this forgotten civilisation in thrift stores, yard sales, and used book and record emporia. A combination of nostalgia and fascinating pop cultural study, this volume is a long overdue investigation into the cult of the Tiki.

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herausgegeben von Andreas Prinzing

Saul Steinberg's The Americans, a colossal mural-collage over seventy meters long made for the U.S. pavilion at the 1958 Brussel's World's Fair, is being exhibited by the Museum Ludwig in its complete state for the first time since the Fair closed. The exhibition will also include a selection of related drawings from the 1950s and magazine features by the artist who always crossed the boundaries between high and low art. Romanian-born Steinberg (1914-1999) studied architecture in Milan before emigrating to America in 1942. He settled in New York and achieved prominence for his drawings for The New Yorker and other magazines, as well as his art for galleries and museums (long before his famous View of the World from 9th Avenue from 1976). For the U.S. pavilion at Expo 58 -- the first world's fair to be mounted after World War II, which was shaped by the Cold War rivalry between the U.S. and Soviet pavilion -- Steinberg created a monumental mural-collage consisting of eight panels with a total length of over seventy meters. They present a panorama of everyday life in America, ranging from the hustle and bustle of the big city to the apparently idyllic world of rural communities. An array of collaged human figures dominates the foregrounds, sometimes singly, sometimes densely packed, often against a background of enlarged photographs of drawings. The figures testify to Steinberg's assimilation of a wide range of artistic influences and to his creative engagement with a variety of media and materials, including drawing, photography, wallpaper, packing paper, and comics. His view of the American way of life, though affectionately humorous, does not exclude its darker aspects. He looks at the United States with the fresh eyes of an immigrant, observing and registering phenomena like the postwar automobile culture and urban development, but also the culture of corporate conformity and a sociological sense of alienation.

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Robert Capa

In 1942, a dashing young man who liked nothing so much as a heated game of poker, a good bottle of scotch, and the company of a pretty girl hopped a merchant ship to England. He was Robert Capa, the brilliant and daring photojournalist, and Collier's magazine had put him on assignment to photograph the war raging in Europe. In these pages, Capa recounts his terrifying journey through the darkest battles of World War II and shares his memories of the men and women of the Allied forces who befriended, amused, and captivated him along the way. His photographs are masterpieces -- John G. Morris, Magnum Photos' first executive editor, called Capa "the century's greatest battlefield photographer" -- and his writing is by turns riotously funny and deeply moving. From Sicily to London, Normandy to Algiers, Capa experienced some of the most trying conditions imaginable, yet his compassion and wit shine on every page of this book. Charming and profound, Slightly Out of Focus is a marvelous memoir told in words and pictures by an extraordinary man.