While still a student at Oxford, Edward Burne-Jones formed a friendship and made a renunciation that would shape art history. The friendship was with William Morris, with whom he would occupy the social and intellectual center of the era's cult of beauty. The renunciation was of his intention to enter the clergy, when he-together with Morris-vowed to throw over the Church in favor of art. In Fiona MacCarthy's riveting account of Burne-Jones's life, that exchange of faith for art places him at the intersection of the nineteenth century and the Modern, as he leads us forward from Victorian mores and attitudes to the psychological, sexual, and artistic audacity that would characterize the early twentieth century.
In MacCarthy's hands, Burne-Jones emerges as a great visionary painter, a master of mystic reverie, and a pivotal late nineteenth-century cultural and artistic figure. Lavishly illustrated with color plates, The Last Pre-Raphaelite shows that Burne-Jones's influence extended far beyond his own circle to Freudian Vienna and the delicately gilded erotic dream paintings of Gustav Klimt, the Swiss Symbolist painter Ferdinand Hodler, and the young Pablo Picasso and the Catalan painters.
Drawing on extensive research, MacCarthy offers a fresh perspective on the achievement of Burne-Jones, a precursor to the Modern, and tells the dramatic, fascinating story of this peculiarly captivating and elusive man.
Book of the Year, Apollo Magazine, 2013
Revered and misunderstood by his peers and lauded by later generations as the father of modern art, Paul Cézanne (1839-1906) has long been a subject of fascination for artists and art lovers, writers, poets, and philosophers. His life was a ceaseless artistic quest, and he channeled much of his wide-ranging intellect and ferocious wit into his letters. Punctuated by exasperated theorizing and philosophical reflection, outbursts of creative ecstasy and melancholic confession, the artist’s correspondence reveals both the heroic and all-toohuman qualities of a man who is indisputably among the pantheon of all-time greats.
This new translation of Cézanne’s letters includes more than twenty that were previously unpublished and reproduces the sketches and caricatures with which Cézanne occasionally illustrated his words. The letters shed light on some of the key artistic relationships of the modern period—about one third of Cézanne’s more than 250 letters are to his boyhood companion Émile Zola, and he communicated extensively with Camille Pissarro and the dealer Ambroise Vollard. The translation is richly annotated with explanatory notes, and, for the first time, the letters are cross-referenced to the current catalogue raisonné. Numerous inaccuracies and archaisms in the previous English edition of the letters are corrected, and many intriguing passages that were unaccountably omitted have been restored. The result is a publishing landmark that ably conveys Cézanne’s intricacy of expression.
Parks created a pottery school that attracts students from around the world and developed for himself an international reputation as the creator of powerful, innovative works in clay. Meanwhile, he and his family had to master the skills required of those who choose to live in the back country--growing and hunting their own food, renovating or building from scratch the structures they needed for residences or studios, resolving conflicts with neighbors, inventing their own amusements. The transformation from middle-class urbanity to small-town simplicity is, as Parks reveals, a lurching and sometimes hilarious process, and the achievement of self-sufficiency is similarly fraught with unexpected challenges.
Returning to Chicago from France, Taft established a bustling studio and began a twenty-one-year career as an instructor at the Art Institute, succeeded by three decades as head of the Midway Studios at the University of Chicago. This triumphant era included ephemeral sculpture for the 1893 World's Columbian Exposition; a prolific turn-of-the-century period marked by the gold-medal-winning The Solitude of the Soul; the 1913 Fountain of the Great Lakes; the 1929 Alma Mater at the University of Illinois; and large-scale projects such as his ambitious program for Chicago's Midway with the monumental Fountain of Time. In addition, the book charts Taft's mentoring of women artists, including the so-called White Rabbits at the World's Fair, many of whom went on to achieve artistic success.
Lavishly illustrated with color images of Taft's most celebrated works, Lorado Taft: The Chicago Years completes the first major study of a great American artist.
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