Joseph Suss Oppenheimer (1698-1738), better known as Jew Suss, was a court Jew, who advised the Duke of Wurttemberg. Clever and handsome, even ostentatious, he fitted easily into court life, despite his humble origins. However, his unpopular economic policies made him enemies and when the Duke died suddenly Suss was arrested, convicted of ‘destestable abuses’ and exectued in Stuttgart in an iron cage. His spectacular rise and fall inspired a media outpouring in the eighteenth century and he has been much written about subsequently. In the twentieth century two films were made about him, one British in 1934, the other German in 1940. Goebbels took an active interest in the latter. After the war its director, Veit Harlan, was tried for Crimes against Humanity for having made the film. Despite his acquittal, the film’s association with the Holocaust remains controversial to this day.
Possessions: Indigenous Art / Colonial Culture / Decolonization
A timely re-examination of European engagements with indigenous art and the presence of indigenous art in the contemporary art world.
The arts of Africa, Oceania and native America famously inspired twentieth-century modernist artists such as Picasso, Matisse and Ernst. The politics of such stimulus, however, have long been highly contentious: was this a cross-cultural discovery to be celebrated, or just one more example of Western colonial appropriation?
This revelatory book explores cross-cultural art through the lens of settler societies such as Australia and New Zealand, where Europeans made new nations, displacing and outnumbering but never eclipsing native peoples. In this dynamic of dispossession and resistance, visual art has loomed large. Settler artists and designers drew upon Indigenous motifs and styles in their search for distinctive identities. Yet powerful Indigenous art traditions have asserted the presence of First Nations peoples and their claims to place, history and sovereignty. Cultural exchange has been a two-way process, and an unpredictable one: contemporary Indigenous art draws on global contemporary practice, but moves beyond a bland affirmation of hybrid identities to insist on the enduring values and attachment to place of Indigenous peoples.
This is a son’s search for his father. A familiar theme, but one that, across the generations, can occasionally unearth something rather powerful. In The Distance Between Us that son is Renato Cisneros, a talented writer and a well-known journalist, and that father is the former Army General Luis Federico ‘El Gaucho’ Cisneros, one of the most important figures in the recent history of Peru.
Renato Cisneros digs into his own family history to understand and demystify the figure of ‘El Gaucho’: the controversial Secretary during the regime of Francisco Morales Bermúdez and, shortly after, the country’s Minister of War. In this book, the intimate perspective and the passage of time reveal the unknown truths about a man, a family and an entire country.
This is a fascinating and nostalgic collection of pictures taken by a Brighton seaside photographer from the late 1940s to the present day. They capture the spirit of the daytripper eras of the 1950s and 1960s; show the stars of the stage and screen who appeared at the Palace Pier Theatre, the Hippodrome and the Theatre Royal, as well as musicians, pop stars, tv personalities and politicians. there are photos recalling colourful, annual special events, such as the London to Brighton Veteran Run and others illustrating the changing face of the city.
A compelling and lively history that examines the lives of British artists from the late-19th century to today.
In This is Tomorrow Michael Bird takes a fresh look at the ‘long twentieth century’, from the closing years of Queen Victoria’s reign to the turn of the millennium, through the lens of the artists who lived and worked in this ever-changing Britain. Bird examines how the rhythms of change and adaptation in art became embedded in the collective consciousness of the nation and vividly evokes the personalities who populate and drive this story, looking beyond individual careers and historical moments to weave together interconnecting currents of change that flowed through London, Glasgow, Leeds, Cornwall, the Caribbean, New York, Moscow and Berlin. From the American James McNeill Whistler’s defence of his new kind of modern art against the British art establishment in the latter half of the 19th century to the Danish-Icelandic artist Olafur Eliasson’s melting icebergs in London, he traverses the lives of the artists that have recorded, questioned and defined our times.
At the heart of this original book are the successive waves of displacement caused by global wars and persecution that conversely brought fresh ideas and new points of view to the British Isles; educational reforms opened new routes for young people from working-class backgrounds; movements of social change enabled the emergence of female artists and artists of colour; and the emergence of the mass media shaped modern modes of communication and culture. These are the ebbs and flows that Michael Bird teases out in this panoramic account of Britain and its artists in across the twentieth century.
A concise, reader-friendly illustrated survey of Western art and architecture from prehistory to the present day.
Acknowledging how architecture, painting, sculpture and the decorative arts reflect the culture and society of their time, this latest addition to the Art Essentials series invites the reader to experience and appreciate the entirety of Western art from prehistory to today.
Focusing on the ‘history’ in art history, each of the twelve chapters opens with a question to ponder, followed by a summary of the major historical developments of the period, touching on social structure, political organization, migration, race, religious beliefs, scientific advances and customs. An exploration of these themes in the visual arts reveals how architecture, sculpture and painting simultaneously shape, reflect, and document the culture of the time and place they were created. A secondary focus explores the constantly evolving aesthetic preferences that swing between naturalism and abstraction, with each era and style either rebelling against the previous or seeking to improve it. Antecedents and outside influences are also discussed.
The greenest grass (or so it seemed to Tigers Fans), the tallest floodlights (six of them not four like other clubs), its own railway station, a state of the art gym and a highly individual character – these were just some of the reasons why Boothferry Park was so revered by City Fans. This fantastic new book brings together facts, figures and bags of photos of the 56 years at Boothferry Park. 191 pages of the history of Hull City.