Product Description \nAccompanying a major exhibition at the Centre Georges Pompidou in Paris 
Exploring the life and work of renowned feminist artist Alice Neel, 1900-1984 
Essays and an extensive anthology provide an academic insight into Neel's work\n“I have always believed that women should resent and refuse to accept all the gratuitous insults that men impose upon them.” – Alice Neel, 1971 One of the greatest portrait artists of the 20th century, Alice Neel's vibrant, expressionistic paintings revealed a breath-taking depth of emotion within her subjects. From works exploring loss and grief, to communist political art, Neel's work pushed boundaries of social justice throughout the 1900s. Her dedication to capturing the truth of humanity is evident: she painted those rejected by society, the victims of social or gendered oppression. Latin American and Puerto Rican immigrants, African-American writers excluded from the intellectual elite, single mothers struggling to raise their children, homosexual couples – all were presented with equal candidness by Neel's brush. Her unflinching approach to the female body took a ground-breaking step towards reclaiming the nude from the male gaze, and the activism inherent to her art resonates with viewers to this day. This book highlights Neel's political and social commitment to her art, as a figurative painter at odds with the artistic styles of the avant-gardes of her time. Structured in two thematic parts – social injustice and gender inequality – this retrospective includes some 60 paintings and drawings as well as numerous documents. Following the artist from her first works in the 1920s to her final evocative self-portrait, made shortly before her death, this is the defining treatise on Alice Neel. 
 About the Author 
Serge Lasvignes was a Secretary General of the Government in France, and was appointed President of the Centre Pompidou in 2015. Bernard Blistène is a French art curator who has been Director of the Musée national d'art moderne, Centre Pompidou, since 2013. Angela Lampe is the curator of the Modern Collections department at the Musée national d'art moderne, Centre Pompidou. Jeremy Lewison served as the Director of Collections at Tate, and acted as the advisor to the Estate of Alice Neel from 2003 to 2020. Larne Abse Gogarty is a lecturer in History and Theory of Art at Slade School of Fine Art, UCL. Elisabeth Lebovici is a French art historian, critic and curator. She is the former chief editor of Beaux Arts magazine and arts editor for Libération. Nathalie Ernoult is a Conservation Officer at the Centre Pompidou.

Alice Neel: An Engaged Eye

Arts & Photography

Blistène, Bernard

Lasvignes, Serge

Lampe, Angela

Individual Artists

Acc Art Books

Though his paintings of Russian village life, floating figures, flying cows, and roosters are instantly familiar, Marc Chagall (1887–1985) remains one of the least understood artists of his generation. Bringing together more than 60 paintings and a selection of works on paper, this lavishly illustrated book focuses on the artist’s time in Paris before World War I, his visit to Berlin and his exhibition there in 1914, and the years he spent in his native Russia around the time of the Revolution in 1917, all experiences that reinforced his highly personal visual language. The timeless themes of these early works—including love, suffering, and death—formed the core of his art for the remainder of his long career. Although Chagall promoted an image of himself as a loner and intuitive genius, in reality he was acutely aware of avant-garde artistic developments. This book, which accompanies a major international exhibition, demonstrates Chagall’s shift from “naive” folkloristic narratives toward an integration of Fauve, Cubist, Expressionist, and Suprematist styles, through which he articulated his native Jewish Russian culture.

Chagall: Modern Master (Tate Gallery, Liverpool: Exhibition Catalogues)

Bohm-Duchen, Monica

Fraquelli, Simonetta

History & Criticism

Tate Publishing

"Beautiful as the chance meeting of a sewing machine and an umbrella on a dissecting table" is the most famous formulation of the Surrealist effect, penned by the Comte de Lautréamont in the 1860s and adopted as a rallying cry by André Breton at the inception of the Surrealist movement. Lautréamont's vivid simile lent itself both to poetry and to visual art, and the Surrealist artists were quick to grasp that an entirely new kind of sculpture could be made from such potent combinations of commonplace objects. Duchamp's Dada-era objects, Freud's theories of the fetish, the "uncanny" and sexual symbolism and the popularity in Europe of African votive objects supplied further stimulus, and soon Breton, Man Ray, Salvador Dalí and even Picasso had populated this infant genre with a whole slew of disquieting (and sometimes fun) inventions--May Ray's 1920 "Cadeau" (a clothes iron with tacks attached) and Dalí's 1936 lobster telephone are two instantly recognizable examples. Younger recruits to the Surrealist cause, such as Hans Bellmer, Isamu Noguchi and Meret Oppenheim developed the possibilities of the genre even further, and Oppenheim's 1936 "Fur Cup" must be today the supreme instance of the Surrealist object. Surreal Objects is the first publication to exclusively address the Surrealist object. Surveying works by over 50 artists and writers--among them such familiar names as Breton, Dalí, Duchamp, Magritte, Man Ray and Picasso, and less-known artists such as Antoni Clavé, Leo Dohmen, Wilhelm Freddie and Conroy Maddox--it provides a definitive treatment of one of Surrealism's most characteristic yet neglected themes.

Surreal Objects: Sculptures and Objects from Dalí to Man Ray

Hollein, Max

MADELINE, Laurence

Pfeiffer, Ingrid

Reference

Hatje Cantz

Marc Chagall is justly famed as one of modernism’s greatest colorists, and its most articulate painter of dispossession, exile and human joy. Chagall also uniquely reconciled the motifs and concerns of Jewish culture with his strange amalgam of Symbolism, Fauvism and Cubism. His lifespan encompassed two world wars, the October Revolution of 1917 and continual uprooting, with lengthy spells in Paris, Moscow and New York; although he painted the ravages of these wars and the sufferings of the Jewish people, and although his art is steeped in the melancholia of exile, it never ceased to affirm life and to praise it. This beautifully produced volume, with its abundance of color plates and first-rate scholarship, celebrates Chagall in all his diversity, reproducing paintings, book illustrations to the Bible and works by Gogol and La Fontaine, stained glass, stage sets, ceramics, tapestries and prints. These works are contextualized in essays by Chagall scholars Meret Meyer, Jean-Louis Prat, Ekaterina Selezneva, Angela Lampe and Ángeles Caso, and in an extensive chronology of the artist’s life, amply illustrated with photographs from his personal album. Marc Chagall (1887–1985) was born in Liozna, near Vitebsk, Belarus, a major center of Hassidic culture in the Russian empire. In 1906 he moved to St Petersburg, Russia, enrolling in art school before moving to Paris in 1910, where Apollinaire, Delaunay and Léger were among his earliest advocates. Chagall’s reputation began to grow during his Moscow years (1914–1922), but it was not until some five years after his return to Paris that his first major exhibitions took place. Two years into the Second World War, Chagall went into exile again, living in New York until 1948. The major triumph of his last decades was perhaps his ceiling for the Paris Opera (1963), which astounded both critics and the wider public.

Chagall

Selezneva, Ekaterina

Prat, Jean-Louis

Museo Thyssen-Bornemisza

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