HGCEA - New Books

HGCEA Historians of German & Central European Art & Architecture

New Books

Updated: January 22, 2008

To submit new books, offer links to reviews for books already posted, or make suggestions concerning this page, please contact Anna Brzyski. The books are listed in the order in which they are received.

Kursschwankungen Russische Kunst im Wertesystem der europäischen Moderne/Fluctuations: Russian Art in the Value System of European Modernism
Edited by Ada Raev and Isabel Wünsche

Still today, Russian art is the mysterious unknown in the Western world, always good for a surprise. The contributions to this volume examine the political, economic, aesthetic, and philosophical factors behind the !uctuating valuation of the role of Russian art within European Modernism. Particular emphasis is given to the investigation of presentational forms and perceptual patterns of Russian art in the primary canon-building medium of the exhibition and its positioning in the art market. Essential to this is the relationship between self-construction and foreign perception, which shaped the biographies and work of such border-crossing "gures as Orest Kiprenski, Wassily Kandinsky, and Ilya Kabakov. In contrast to the widely held view of the imitative character of Russian art, this volume opens our eyes to its unique vitality, which, at the latest, beginning with the revolutionary experiments
of the Russian avant-garde has been a driving force for innovation in the international art scene.

Content:
Introduction with essays by Isabel Wünsche, Ada Raev, and Waltraud Bayer
Cultural Promises of the “Other” with essays on Orest Kiprenski, Alexander Ivanov, Ivan Puni, Erich Mendelsohn, and Viktor Pivovarov by Antonia Napp, Iris Blochel-Dittrich, Magdalena Nieslony, Ita Heinze-Greenberg, and Wolfgang Schlott
Border-Crossing Figures with essays on Ilya Repin, Marc Chagall, Kazimir Malevich, Eduard Steinberg, and Maxim Kantor by Elina Knorpp, Karoline Hille, Christian Hufen, Claudia Beelitz, and Laura Gieser
Exhibitions as Instrument of Canon Building with essays on Der Sturm, the Russian avant-garde museums, the Biennale di Venezia in 1977 and 1995 by Marina Dmitrieva, Christiane Post, Valentina Parisi, and Sandra Frimmel
National Self-Constructions in Dialogue with essays on color and material in Russian avant-garde art, the spatial constructions of Pavel Florensky and El Lissitzky, the Russian avant-garde and painting in Czechoslovakia in the interwar period, the total installations and the western reception of Ilya Kabakov by Alexandra Köhring, Alexandra Käss, Dusan Buran, Ruth Langen-Wettengl, and Regine Rapp
The Expansion of Artistic Action with essays on fashion design, Moscow Conceptualism, and the role of the artist in Constructivism and in Conceptualism by Burcu Dogramaci, Sabine Hänsgen, and Manuela Schöpp

Berlin: Lukas Verlag für Kunst- und Geistesgeschichte, 2007; Paperback, 262 pages, 72 black-and-white illustrations; ISBN 978–3–86732–012–2. Book Orders: Fax +49-30-442 81 77

Partisan Canons
Edited by Anna Brzyski

Whether it is being studied or critiqued, the art canon is usually understood as an authoritative list of important works and artists. This collection breaks with the idea of a singular, transcendent canon. Through provocative case studies, it demonstrates that the content of any canon is both historically and culturally specific and dependent on who is responsible for the canon’s production and maintenance. The contributors explore how, where, why, and by whom canons are formed; how they function under particular circumstances; how they are maintained; and why they may undergo change.

Focusing on various moments from the seventeenth century to the present, the contributors cover a broad geographic terrain, encompassing the United States, France, Germany, the Netherlands, Poland, Taiwan, and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic, the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War, the failed attempt to define a canon of Rembrandt’s works, and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists’ efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons, acknowledging both their partisanship and its implications for the writing of art history.

Contributors: Jenny Anger, Marcia Brennan, Anna Brzyski, James Cutting, Paul Duro, James Elkins, Barbara Jaffee, Robert Jensen, Jane C. Ju, Monica Kjellman-Chapin, Julie L. McGee, Terry Smith, Linda Stone-Ferrier, and Despina Stratigakos

Durham: Duke University Press, 2007; 376 pp; 38 ill.; ISBN13 978-0-8223-4085-0 (cloth), ISBN13 978-0-8223-4106-2 (paperback)

Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909-1939
By Mark Antliff

Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the “New Vision” photographer Germaine Krull, and the fauve Maurice Vlaminck.

Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”

In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé.

Durham: Duke University Press, 2007; 376 pp; 67 ill.; ISBN13 978-0-8223-4015-7 (cloth), ISBN13 978-0-8223-4034-8 (paperback)

Graphic Modernism from the Baltic to the Balkans, 1910–1935
by Steven A. Mansbach, with Wojciech Jan Siemaszkiewicz

The history of modern art and design has been written mostly from the perspectives of the European West or from an American vantage point. In this new book Steven Mansbach introduces and describes the radical early twentieth-century experiments in modern art and design that developed in Europe from the Baltic north to the Balkan south. The more than 50 works on paper discussed and illustrated here, by such artists as El Lissitzky, Karel Teige, Jerzy Hulewicz, Sirak Skitnik, France Kralj, Lajos Kassak, Victor Brauner, Niklavs Strunke, and Jaan Vahtra, represent a revolutionary attempt by the artists to create a new visual vocabulary appropriate for a modern era. Relying mostly on abstract compositions based on geometric forms, writers, poets, and visual artists collaborated to convey not only aesthetic ideals, but social content, at a time of major change after World War I and the emergence of newly independent states.
Graphic Modernism from the Baltic to the Balkans, 1910-1935, with a visually stunning design, is illustrated in color with more than 50 examples of modernist publications. In addition to an overview essay about the progressive eastern European graphic artists and writers, by Steven Mansbach, Professor of the History of Twentieth-century Art at the University of Maryland, the volume also describes the growth and development of the Library’s collections in this field. A complete checklist of the exhibition, for which this is a companion volume, is also included.

New York: New York Public Library, 2007. 80 pp;ISBN: 978-0-87104-459-4

Modernity in Central Europe, 1918-1945
By Matthew S. Witkovsky
Introduction by Peter Demetz

In the 1920s and 1930s, photography became an immense phenomenon across Germany, Czechoslovakia, Hungary, Austria, and Poland. Through magazines and books, in advertisements and at exhibitions, from amateur clubs to avant-garde schools, photographs emerged as a key vehicle of modern consciousness.

This book and the exhibition it accompanies present the work of approximately one hundred individuals whose creations exemplify the potential of photography in Central Europe between the two World Wars. Foto brings together for the first time works by recognized masters such as the Russian El Lissitzky, the Hungarian László Moholy-Nagy, and the German Hannah Hóch—all of whom developed their photographic ideas in Germany—with contemporaries like Karel Teige and Jaromír Funke (Czechoslovakia), Kazimierz Podsadecki (Poland), Károly Escher (Hungary), and Trude Fleischmann (Austria), who are less well known today.

Organized thematically, the book explores topics from photomontage and war to gender identity, modern living, and the spread of Surrealism. It shows the shared experience of modernity in the region, whereby recently founded nations and dismantled empires alike sought their place within the new world order established in the aftermath of World War I.Includes maps, biographies of the featured photographers, and a scholarly bibliography.

London and Washington, D.C.: Thames and Hudson (in association with the National Gallery of Art, Washington), 2007. 312 pp; 251 illustrations, 192 in colour; ISBN 0500543372,ISBN-13 978-0500543375

K ostyantin Piskorsky
Edited by By Olena Novikova

The artist and art theorist Konstyantin Piskorsky (1892-1922) was one of those Ukrainian modernists who are still little known today. This volume, edited by Olena Novikova, is the first compilation of works by Piskorsky from Ukrainian museums and private collections. In their articles, Olena Novikova and Maria Guska give an art historical interpretation of the work of this extraordinary artist, which can be placed between symbolism and futurism. It is complemented by smaller contributions by John Bowlt and Dmytro Horbachev. The outstanding colour illustrations and numerous archival photos in this volume give a comprehensive image of this artist’s life and work.

Kiev: Rodovid 2006; 130 pp.; 105 ill., ISBN 966-7845-27-3

Local Strategies. International Ambitions. Modern Art and Central Europe 1918-1968
Edited by Vojtech Lahoda

Papers from the International Conference, organized by The Institute of Art History of the Academy of Sciences of the Czech Republic and New York University in Prague 2003. Essays on Modernism and Avant-garde in Central and Eastern Europe, especially on Czech, Polish, Hungarian, Croatian, Slovenian, Lithuanian, Latvian, Russian, Ukrainian and Romanian Modern Art. Authors: Timothy O. Benson, Anna Brzyski, Linara Dovydaityte, Eva Forgács, Irina Genova, Tomasz Gryglewicz, Jeremy Howard, Giedre Jankeviciute, Eduards Klavinš, Liljana Kolešnik, Vojtech Lahoda, Esther Levinger, Christina Lodder, Marian Mazzone, Myroslava M. Mudrak, Katarzyna Murawska-Muthesius, Martina Pachmanová, Damjan Prelovšek, Ivanka Reberski, Nicholas Sawicki, Deborah Schultz, Andrej Szczerski, Darko Šimicic, Maria Elena Versari, Annika Waennerberg, Anna Wierzbicka, Mathew S. Witkowsky, Isabel Wünsche, András Zwickl.

Artefactum: Praha 2006. 245 pp., 4 col/165 mono illus; ISBN 80-86890-08-2; Price: 58 EURO; 77 USD; 40 GBP (+ Shipping Cost)

The book can be ordered via e-mail: ramesova@udu.cas.cz, by fax: +420222224654, or by post: Milada Ramešová, Institute of Art History ACSR, Husova 4, Prague 1, 11000, The Czech Republic

East European Art 1650-1950
By Jeremy Howard

The arts that flourished between the Arctic Ocean and the Black Sea and between Austria and Russian Alaska from the seventeenth to the twentieth century are some of the most potent in history. Yet they, and their cultural context, remain little known. East European Art addresses this by providing a sweeping view of key artistic developments and connections in the lands of the Romanov and Habsburg empires as well as their neighboring and successor states. And it argues that a greater appreciation of East European art will lead us to a much-needed fresh definition of 'European' art as a whole.

Oxford: Oxford University Press, 2006. 272 pages, 65 color illus., 47 b/w illus., ISBN-13: 978-0-19-284224-4
Series: Oxford History of Art

East Art Map: Contemporary Art and Eastern Europe
Edited by IRWIN

The artistic map of Europe contains different degrees of detail and resolution. Italy, France, and Spain are presented in fine grain, but the Balkan peninsula is little more than a vague outline. England, Germany, and Scandinavia have many features filled in, but to the east of Germany things are blurred. Until recently, cities like Sofia, Odessa, Skopje, and Belgrade had next to no definition. Further to the East, Moscow comes into focus, but this is no compensation for the Baltics, sentenced for the last half-century to blank space.
East Art Map is an ambitious attempt to reconstruct the missing histories of contemporary art in Eastern Europe from an East European and artistic perspective. It is perhaps the widest ranging art documentation project ever undertaken by the East on the East, involving a large network of artists, scholars, curators and critics coordinated by the IRWIN group over several years. The editors invited eminent art critics, curators, and artists to present up to ten crucial art projects produced in their respective countries over the past 50 years. The choice of the particular artworks (many of them reproduced in color), artists, and events, as well as their presentation, was left exclusively to the individual selectors. In addition, the editors asked experts from both East and West to provide longer texts offering cross-cultural perspectives on the art of both regions.

Cambridge, MA: MIT Press, 2006. 525 pp., 192 color illus. $45.00/£24.95 (PAPER); ISBN-10: 1-846380-05-7; ISBN-13: 978-1-84638-005-1

Die Schau des Fremden: Ausstellungskonzepte zwischen Kunst, Kommerz und Wissenschaft, Geschichte
edited by Cordula Grewe.

Museums of civilization (of ethnology, anthropology, folklore or natural history) are today undergoing major reevaluation, resulting in the reorganization of collections and the dissolution of some museums as well as the creation of new ones. At this critical moment in the history of these museums, this book explores the fraught space between art and artifact in relation to the disciplines of art history and anthropology and shifting museological contexts. Focusing on France, Germany, Belgium and the United States in the period between the mid-nineteenth century and the present, this essay collection creates an interdisciplinary dialogue between curators, sociologists, anthropologists, historians and art historians. It investigates the relationship of museums devoted to the “human” broadly conceived to the formation of new academic disciplines (such as anthropology) and novel practices of popular mass culture (from ethnographic spectacles and world fairs to the art market). From a diverse range of perspectives, the authors explore fundamental shifts within the overall composition of Western societies such as the rise and fall of imperialism and colonialism, the appearance of mass society and consumerism, or, most recently, globalization. Finally, the volume sheds new light on the ways in which a modern museology negotiates the problematic heritage of this field and finds new ways to exhibit “self” and “others.”

Stuttgart:Franz Steiner Verlag, 2006; 376 pp; 71 b&w ill; 16 color plates; ISBN 978-3-515-08843-5

Kandinsky Drawings: Catalogue Raisonne. Volume One. Individual Drawings
by Vivian Endicott Barnett

The first volume of the catalogue raisonné comprises 1236 works from all periods of Vasily Kandinsky's career. It begins with an addendum of fifteen watercolors and two oil-paintings, which were not included in the previous four volumes of the catalogue raisonné, followed by India ink drawings, sketches and individual works. There is complete provenance, exhibition history and bibliography for each catalogue entry as well as numerous commentaries discussing date, iconography and related works. Vivian Barnett has written a text on the artist's discovery of his own drawings in the early 1930s and his efforts to exhibit them during his lifetime. The volume concludes with a comprehensive list of one-person and group exhibitions, a selective bibliography and indexes. A second volume, which is devoted to Kandinsky's thirty-five sketchbooks that have remained intact, will appear in spring 2007.

Published in October 2006 by Philip Wilson Publishers, London and C.H. Beck Verlag, Munich. Distributed in the US by Palgrave Macmillan, a division of St. Martin's Press; 600 pp.; 75 color plates and approx. 1300 black and white illustrations

Art, Design, and Architecture in Central Europe 1890-1920
By Elizabeth Clegg

The book offers a wide-ranging account of art, design, and architecture in the complex Central Europe of the Austro-Hungarian Empire during its momentous last decades. Comparing the situation in eight cities—among them Vienna, Prague, Budapest, Cracow, and Zagreb—the author highlights contrasts, rivalries, parallels, and interconnections across this colorful and important region. The book deals with all the chief ethnic/national categories of Austria-Hungary and embraces all the visual arts. Focusing on their public display, appraisal, and consumption, Clegg shows how the harmonious/antagonistic coexistence of institutions, publications, and events gave rise to the dynamic art life of a period that would end in a turning point for Central Europe. As vividly revealed, this was a time and place marked by a simultaneous fear and celebration of ethnic, linguistic, and cultural diversity that has enormous international resonance a century later.

New Haven: Yale University Press, 2006. 356 p., 250 b/w + 50 color illus.; Cloth: $75.00; ISBN: 0300111207; ISBN-13: 978-0-300-11120-0

Dada East: The Romanians of Cabaret Voltaire
By Tom Sandqvist

The book shows that Dada did not spring full-grown from a Zurich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe -- particularly Romania -- that was transposed to Switzerland when a group of Romanian modernists settled in Zurich. Bucharest and other cities in Romania had been the scene of Dada-like poetry, prose, and spectacle in the years before World War I. One of the leading lights was Tristan Tzara, who began his career in avant-garde literature at fifteen when he cofounded the magazine Simbolul. Tzara -- who himself coined the term "Dada," inspired by an obscure connection of his birthday to an Orthodox saint -- was at the Cabaret Voltaire that night, along with fellow Romanians Marcel, Jules, and Georges Janco and Arthur Segal. It's not a coincidence, Sandqvist argues, that so many of the first dadaist group were Romanians. Sandqvist traces the artistic and personal transformations that took place in the "little Paris of the Balkans" before they took center stage elsewhere, finding sources as varied as symbolism, futurism, and folklore. He points to a connection between Romanian modernists and the Eastern European Yiddish tradition; Tzara, the Janco brothers, and Segal all grew up within Jewish culture and traditions.

Cambridge: MIT Press, 2006. 448 pp., 75 illus., 16 page color insert; $45.00/£29.95 (CLOTH); ISBN-10: 0-262-19507-0; ISBN-13: 978-0-262-19507-2

New Casalini Libri catalogue of Eastern & Central European art & architecture books

Early Polish Modern Art: Unity in Multiplicity
By Marek Bartelik

This work examines four avant-garde groups that emerged in Poland towards the end of World War I; the Poznan Expressionists, the Young Yiddish, the Formists, and the Futurists. It is the first extensive study to bring these four groups together, and in doing so it establishes interconnections between them, and discusses their work in light of socio-political and cultural currents in Poland and wider Europe in the interwar period.

Manchester: Manchester University Press, 2005. 272 pp; 40 b&w illustrations; cloth: £60.00; ISBN: 0-7190-6352-3

Galka E. Scheyer & The Blue Four, Correspondence 1924-1945
Edited by Isabel Wunsche

This publication includes a selection of approximately one hundred letters and other extant documents covering the history of the Blue Four, and the interactions between the artists (Lyonel Feininger, Alexei Jewlensky, Wassily Kandinsky and Paul Klee) and their American representative, Galka E. Scheyer, the woman who made it her mission to introduce their work to the American public.

Bern: Benteli, 2006. 400 pages, 15 color and 89 black and white illustrations, paperback, price €39
English edition: Galka E. Scheyer & The Blue Four: Correspondence, 1924-1945
ISBN 3-7165-1438-1; ISBN 978-3-7165-1438-2
German edition: Galka E. Scheyer & Die Blaue Vier: Briefwechsel, 1924-1945
ISBN 3-7165-1429-2; ISBN 978-3-7165-1429-0

Blind Spots: Critical Theory and the History of Art in Twentieth-Century Germany
By Frederic Schwartz

This book is the first to focus on the extraordinary symbiosis between Critical Theory and other discourses of the visual in the first half of the twentieth century. In four extended case studies, Frederic J. Schwartz traces the way central concepts of the aesthetics later termed “Frankfurt School” were deeply rooted in contemporary developments in painting, photography, architecture, and film, as well as psychology, advertising, and the discipline of art history as it was practiced by figures such as Heinrich Wölfflin, Erwin Panofsky, Wilhelm Pinder, and Hans Sedlmayr.

New Haven: Yale University Press, 2005. 320 p., 93 b/w illus.; cloth: $45.00; ISBN: 030010829X

Time and Place: The Geohistory of Art
Edited by Thomas DaCosta Kaufmann and Elizabeth Pilliod

This book proposes to return anew to the approach of artistic geography, which had been largely neglected from the Second World War until recently, and to reevaluate the possibilities it provides through a selection of case studies that discuss the connection between art and its place. The introduction and first essay deal with the historiography of the geography of art. Five essays take up specific questions ranging from France and the Low Countries to Mexico and China. The final three essays consider contemporary and broader theoretical issues concerning art in time and place.
Contents
Introduction, Thomas DaCosta Kaufmann; Jacob Burckhardt and the 'Renaissance' north of the Alps, Bruce Boucher; Styles and manners: reflections on the longue durée in the history of architecture, Jean Guillaume; Unity and discontinuity in the architecture of the Low Countries, 1530-1700, Konrad A. Ottenheym; Alchemy of wind and water: Amsterdam, 1200-1700, Elisabeth de Bièvre; At the center on the frontier: the Jesuit Tarahumara missions of New Spain, Clara Bargellini; Placing Chinese painting history: the cultural production of the geohistory of painting practice in China, Jennifer Purtle; Between place and time: a critical geography of 'new' Central Europe, Piotr Piotrowski; 'Independent of time and place': on the rise and decline of a modernist ideal, Dario Gamboni; Arbitrariness and authority: how art makes cultures, David Summers; Index.

London, Ashgate Press, 2005. 69 b&w illustrations; 249 pages; Hardback; ISBN: 0 7546 0873 5

Painterly Enlightenment: The Art of Franz Anton Maulbertsch, 1724-1796
By Thomas DaCosta Kaufmann

Franz Anton Maulbertsch (1724-1796) was an Austrian fresco painter known for his bold use of color. Although he has been recognized in the Central European regions where he worked, Maulbertsch has remained outside the general canon of art history. With Painterly Enlightenment, Thomas DaCosta Kaufmann recovers the story of Maulbertsch, offering the first comprehensive English-language study of the long-neglected artist.

Chapel Hill and London: University of North Carolina Press, 2005. 208 pp., 36 color and 52 b&w illus., 1 map, notes, index, with color inserts; $34.95 cloth; ISBN 0-8078-2956-0

Artists of World War II
by Barbara McCloskey

The first global survey of art in World War II, this volume features selected biographies of artists and detailed discussions of war-era art worlds in China, France, Italy, Japan, Germany, Great Britain, the Soviet Union, Spain, and the United States. Readers can compare and contrast artists' experiences of war in these different countries. They will observe the artists' wide range of responses to war, from producing art works that actively supported the war effort, to criticism of death and destruction.

Westport, CT: Greenwood Press, 2005. 248 pages; photos; Hardcover ISBN: 0-313-32153-1; List Price: $59.95 (UK Sterling Price: £33.99)

Before the Bauhaus: Architecture, Politics, and the German State, 1890-1920
By John V. Maciuika

Offering a thorough new analysis of German architectural history that draws upon long-standing debates in Wilhelmine German history, this book revises our understanding of the roots of the Bauhaus and, by extension, the historical roots of twentieth-century German architecture and design. Region-by-region investigations of architecture and applied arts policies combine with the study of individual imperial ministries to place organizations like the Deutscher Werkbund, along with such leading figures as Walter Gropius, Hermann Muthesius, and Henry van de Velde in an entirely new light. Cambridge: Cambridge University Press, 2005 (392 pp.; 129 illus.; 2 appendices; Hardback ISBN-10: 0521790042, ISBN-13: 9780521790048.

Arts in Exile in Britain 1933-1945:Politics and Cultural Identity
Edited by Shulamith Behr and Marian Malet

This volume focuses on the contribution of refugees from Nazism to the Arts in Britain. The essays examine the much neglected theme of art in internment and address the spheres of photography, political satire, sculpture, architecture, artists’ organizations, institutional models, dealership and conservation. These are considered under the broad headings ‘Art as Politics’, ‘Between the Public and the Domestic’ and ‘Creating Frameworks’. Such categories assist in posing questions regarding the politics of identity and gender, as well as providing an opportunity to explore the complex issues of cultural formation.

The Yearbook of the Research Centre for German and Austrian Exile Studies 6; 377 pp.; € 76,-/ US $ 95; Amsterdam/New York: Rodopi 2005.
ISBN: 90-420-1786-4

Wzorce Tozsamosci. Recepcja Sztuki Brytyjskiej w Europie Srodkowej Okolo Roku 1900 [Models of Identity. Reception of British Art in Central Europe Around 1900]
by Andrzej Szczerski

The book, published as part of the series ARS Vetus et Nova edited by Wojciech Balus, examines the ways in which British art, and in particular the philosophy of Arts and Crafts was understood, received and absorbed by Central European artists in the decades framing the end of the nineteenth century. Reviewed in Centropa 5:2 (May 2005).

Polish edition, with English summary. 550 pages, 125 illustrations, Krakow: Universitas [http://www.universitas.com.pl/index.php?PST=ksiazka&id=1737], 2002. ISBN:83-242-0082-7

link to English summary (7.74 MB pdf)

Avantgarda w Cieniu Jalty: Sztuka w Europie Srodkowo-Wschodniej w latach 1945-1989 [Avant Garde in the Shadow of Yalta: Art in East Central Europe 1945-1989]
by Piotr Piotrowski

A comparative study of art produced in the area of East-Central Europe (Czechoslovakia, the GDR, Poland, Hungary, and Bulgaria) during the period from 1945-1989.

Polish edition, with English summary. 502 pages, 224 black-and-white illustrations. Poznan: REBIS Publishing House Ltd. [http://www.rebis.com.pl/rebis/start.html], 2005; ISBN: 83-7301-422-5

link to English summary (1.2 MB pdf)

Religion - Macht - Kunst. Die Nazarener

Exhibition catalogue, Frankfurt Kunsthalle. Edited by Max Hollein and Christa Steinle. With a foreword by Max Hollein and texts by Bazon Brock, Cordula Grewe, Rainer Metzger, Cornelia Reiter, Christa Steinle, Michael Thimann, and Beat Wyss.

German edition, 288 pages, 90 color and 79 black-and-white illustrations. Cologne: Verlag der Buchhandlung Walther König, 2005.
ISBN 3-88375-940-6; €29,80

Between Ruin and Renewal. Egon Schiele’s Landscapes
by Kimberly A. Smith

A provocative look at Schiele’s landscapes that sheds new light on the artist's work and on Viennese modernism.

232 p.; 8 1/2 x 11; 41 b/w + 48 color illus. New Haven: Yale University Press, 2004.
ISBN: Cloth 0300097484; $50.00

Modern German Art for Thirties Paris, Prague, and London. Resistance and Acquiescence in a Democratic Public Sphere
by Keith Holz

A generously illustrated account of Germany's exiled artists in Paris, Prague, and London,and their uphill battle to promote new interpretations of modern German art

7 x 10. 384 pgs. 86 B&W photographs, 6 color photographs. Ann Arbor: University of Michigan Press, 2004.
ISBN: Cloth 0-472-11370-4; $75.00

Paul Klee and the Decorative in Modern Art
by Jenny Anger

A major assessment of the significance and implications of the "decorative" for the work and reception of Paul Klee.

342 pages; 11 line diagrams, 64 half-tones, 8 colour plates. Cambridge: Cambridge University Press, 2004.
ISBN: Cloth 0521822505

Toward a Geography of Art
by Thomas DaCosta Kaufmann

An investigation of the geographical dimension of art history through a series of case studies dealing with the early modern period in Europe, Latin America, and Asia.

504 p.; 91 halftones; 6 x 9. Chicago: University of Chicago Press, 2004.
ISBN: Cloth0-226-13311-7; Paper 0-226-13312-5