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225 books match the query 'Modernism' and 8 start with i

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Icons of the Fantastic

Illustrations of Imaginative Literature from The Korshak Collection

Amanda T. Zehnder

University of Delaware Press, 2025

Winner of the 2026 PIA MidAmerica GraphEx Award for Best of Category, Hardcover Book Binding

Finalist for the 2026 Locus Awards in the Illustrated and Art Books category

"The Korshak Collection is a portrait and biography of a man and his family, who once looked upon the dark skies and saw Immortals, gods hunting in the storm clouds. Stephen Korshak decided to dedicate his life to tell us all how the thunder sounded and preserve the outlines of the cosmos for the awe of us all. Enjoy, believe—be amazed." —Guillermo del Toro, from the Foreword

Icons of the Fantastic: Illustrations of Imaginative Literature from the Korshak Collection features artwork by pioneering artists from over 160 years of published works of science fiction and fantasy. The illustrations in the collection appeared on the covers of timeless novels such as the Tarzan series by Edgar Rice Burroughs and classic pulp magazines from the 1930s through 1960s, such as Amazing Stories and Weird Tales. They accompany images of mischievous satyrs, ethereal mermaids, and spell-casting witches for texts ranging from The Tempest, Don Quixote, and Alice's Adventures in Wonderland to works by Edgar Allan Poe and H. G. Wells. Alongside essays about famous illustrators such as Arthur Rackham and Aubrey Beardsley, contributors engage in a critical reassessment of understudied artists such as José Segrelles, Wladyslaw Benda, Margaret Brundage, and Hannes Bok. The book includes a foreword by Guillermo del Toro, a preface by Kevin J. Anderson, an introduction by Michael Dirda, and an interview with renowned contemporary illustration artist Michael Whelan.

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Illuminated Paris

Essays on Art and Lighting in the Belle Époque

Hollis Clayson

University of Chicago Press, 2019

The City of Light. For many, these four words instantly conjure late nineteenth-century Paris and the garish colors of Toulouse-Lautrec’s iconic posters. More recently, the Eiffel Tower’s nightly show of sparkling electric lights has come to exemplify our fantasies of Parisian nightlife. Though we reflect longingly on such scenes, in Illuminated Paris, Hollis Clayson shows that there’s more to these clichés than meets the eye. In this richly illustrated book, she traces the dramatic evolution of lighting in Paris and how artists responded to the shifting visual and cultural scenes that resulted from these technologies. While older gas lighting produced a haze of orange, new electric lighting was hardly an improvement: the glare of experimental arc lights—themselves dangerous—left figures looking pale and ghoulish. As Clayson shows, artists’ representations of these new colors and shapes reveal turn-of-the-century concerns about modernization as electric lighting came to represent the harsh glare of rapidly accelerating social change. At the same time, in part thanks to American artists visiting the city, these works of art also produced our enduring romantic view of Parisian glamour and its Belle Époque.

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Imaging Animal Industry

American Meatpacking in Photography and Visual Culture

Emily Kathryn Morgan

University of Iowa Press, 2024

Imaging Animal Industry focuses on the visual culture of the American meat industry between 1890 and 1960. It describes how, during that period, photographs and other images helped to shape public perceptions of industrial-scale meat production. Although the meat industry today bans most photography at its facilities, in the past this was not always the case: the meat industry not only tolerated but welcomed cameras. Meatpacking companies and industry organizations regarded photographs as useful tools for creating and managing a vision of their activities, their innovations, and their contributions to the march of American economic and industrial progress.

Drawing on archival collections across the American Midwest, this book relates a history of the meatpacking industry’s use of images in the early to mid-twentieth century. In the process, it reveals the key role that images, particularly photographs, have played in assisting with the rise of industrial meat production.

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In Visible Touch

Modernism and Masculinity

Edited by Terry Smith

University of Chicago Press, 1997

In this collection, outstanding historians and theorists explore the representation of heterosexual masculinity embodied in modernist art.

Examining such major European modernists as Cézanne, Caillebotte, Matisse, Wyndham Lewis, and Boccioni, these writings offer a history of how artists sought to shape their sexuality in their work. In turn, the essays also show how the artists were shaped by the historical shifts in the gender order and by the exchanges between sexualities occurring in their social worlds. For example, the piece on Wyndham Lewis shows how he subscribed to an exaggerated masculinism, while the essays on Boccioni and Matisse bring out the efforts by these men to understand feminine sexuality.

In the theoretical essays, Bernard Smith questions modernism itself as a style category. And Richard Shiff and W.J.T. Mitchell trace the consequences for art theory of recognizing the physical presence of modernist artworks and the agency of imagery in our encounter with contemporary art.

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Infrathin

An Experiment in Micropoetics

Marjorie Perloff

University of Chicago Press, 2021

Esteemed literary critic Marjorie Perloff reconsiders the nature of the poetic, examining its visual, grammatical, and sound components.

The “infrathin” was Marcel Duchamp’s playful name for the most minute shade of difference: that between the report of a gunshot and the appearance of the bullet hole, or between two objects in a series made from the same mold. “Eat” is not the same thing as “ate.” The poetic, Marjorie Perloff suggests, can best be understood as the language of infrathin. For in poetry, whether in verse or prose, words and phrases that are seemingly unrelated in ordinary discourse are realigned by means of sound, visual layout, etymology, grammar, and construction so as to “make it new.”

In her revisionist “micropoetics,” Perloff draws primarily on major modernist poets from Stein and Yeats to Beckett, suggesting that the usual emphasis on what this or that poem is “about,” does not do justice to its infrathin possibilities. From Goethe’s eight-line “Wanderer’s Night Song” to Eliot’s Four Quartets, to the minimalist lyric of Rae Armantrout, Infrathin is designed to challenge our current habits of reading and to answer the central question: what is it that makes poetry poetry?

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Intimate Outsiders

The Harem in Ottoman and Orientalist Art and Travel Literature

Mary Roberts

Duke University Press, 2007

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers.

Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.

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Inventing Stereotype

Race, Representation, and Interwar America

Martin A. Berger

University of Chicago Press, 2025

Berger excavates the lineage of stereotype as a concept, illustrating how perception of stereotypes in works of literature and fine art shifts relative to representational norms.

Upending a century of scholarly and popular thinking about stereotype, Martin A. Berger traces our current understanding of it to the 1920s, when American journalist and public intellectual Walter Lippmann borrowed the term from printmaking techniques and defined it as a shared mental picture that simplified a person, event, group, or thing so it could be easily grasped. Berger uncovers stereotype’s intellectual debts to philosophy, psychology, political science, and, in particular, art history and interwar racial theories.

Inventing Stereotype analyzes a series of plays, novels, and paintings from the 1920s and 1930s that sparked fierce debate about whether they employed racial stereotypes in the depiction of Black, Jewish, and other characters. Through careful attention to audience responses—parsed by race, political leanings, religion, and class—the book illustrates how artistic depictions are categorized as either stereotyped or not, relative to current representational norms, rather than to their success in conveying the authentic identities of individuals or racial groups.

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Islamism and Modernism

The Changing Discourse in Iran

By Farhang Rajaee

University of Texas Press, 2007

While many previous books have probed the causes of Iran's Islamic Revolution of 1979, few have focused on the power of religion in shaping a national identity over the decades leading up to it. Islamism and Modernism captures the metamorphosis of the Islamic movement in Iran, from encounters with Great Britain and the United States in the 1920s through twenty-first-century struggles between those seeking to reform Islam's role and those who take a hardline defensive stance.

Capturing the views of four generations of Muslim activists, Farhang Rajahee describes how the extremism of the 1960s brought more confidence to concerned Islam-minded Iranians and radicalized the Muslim world while Islamic alternatives to modernity were presented. Subsequent ideologies gave rise to the revolution, which in turn has fed a restructuring of Islam as a faith rather than as an ideology.

Presenting thought-provoking discussions of religious thinkers such as Ha'eri, Burujerdi, Bazargan, and Shari'ati, along with contemporaries such as Kadivar, Soroush, and Shabestari, the author sheds rare light on the voices fueling contemporary Islamic thinking in Iran. A comprehensive study of these interwoven aspects of politics, religion, society, and identity, Islamism and Modernism offers crucial new insight into the aftermath of the Iranian Constitutional Revolution fought one hundred years ago—and its ramifications for the newest generation to face the crossroads of modernity and Islamic discourse in modern Iran today.

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