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Often misinterpreted as a simple derivative of French Neo-Impressionism, Divisionism's practitioners, while also concerned with nineteenth-century research into optics and the physics of light, consulted different sources, and their aims and results diverged from the French school. The Italian Divisionists were motivated by a basic dissatisfaction with modern civilization and a desire to endow art with a scientific approach; to make art an instrument of social change. At the same time, their work was often deeply Symbolist in character; Grubicy, Previati, Segantini and Volpedo, while espousing progress and science, drew on Christian imagery of the Middle Ages and the Renaissance - even when anti-clerical in their politics - in a quest for spiritual transcendence.This book features the main protagonists of the first generation of Divisionists - Vittore Grubicy de Dragon, Giovanni Segantini, Gaetano Previati, Angelo Morbelli, Emilio Longoni, Giuseppe Pellizza da Volpedo, Plinio Nomellini, Ettore Sottocornola and Carlo Fornara, together with Giacomo Balla, Umberto Boccioni, Carlo Carra and Luigi Russolo, who were later to launch the Futurist movement, yet were profoundly influenced by Divisionism. 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Critical essays explore her early experiments with Cubism; her exile in Spain during World War I; her collaborative projects with major figures of her time such as André Mare, Serge Diaghilev, Francis Poulenc, and André Groult; and her role in the emergence of a “Sapphic modernity” in Paris in the 1920s. Along with more than 60 full-color plates, Laurencin’s life and career are documented through an illustrated chronology and exhibition history, as well as an appendix charting her network of female patrons and associates. Laurencin became a fixture of the contemporary art scene in pre–World War I Paris, including as a muse and romantic partner of the poet Guillaume Apollinaire. She returned to the city after the war, having developed her signature style of diaphanous female figures in a blue-rose-gray palette. Laurencin’s feminine yet sexually fluid aesthetic defined 1920s Paris, and her work as an artist and designer met with high demand, with commissions by Ballets Russes and Coco Chanel, among others. Her romantic relationships with women inspired homoerotic paintings that visualized the modern Sapphism of contemporary lesbian writers like Nathalie Clifford Barney. Indeed, one of Laurencin’s final projects was to illustrate the poems of Sappho in 1950.     Distributed for the Barnes Foundation    Exhibition Schedule:    Barnes Foundation, Philadelphia  (October 22, 2023–January 21, 2024)","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49746507301137,"sku":"NGR9780300273632","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":50134340370705,"sku":"CIN0300273630VG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":51000722784529,"sku":"NIN9780300273632","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":51333237408017,"sku":"CIN0300273630G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0300273630.jpg?v=1751323661"},{"product_id":"picasso-the-great-war-experimentation-and-change-book-simonetta-fraquelli-9781785510342","title":"Picasso: The Great War, Experimentation and Change","description":"Picasso: The Great War, Experimentation, and Change examines the work that Pablo Picasso made in Paris during the tumultuous years of World War I. Focusing on Picasso's oeuvre from 1912 to 1924, when he utilised both Cubist and classical modes in his art, this fully illustrated catalogue highlights one of the most important periods in the history of modern art. Picasso's shifts in style became a means of not repeating, in his words, 'the same vision, the same technique, the same formula.'  With that approach in mind, the book also includes the work of Picasso's peers and friends, artists who were also exploring themes relevant to the difficult times in which they lived. Published to accompany a major exhibition of the same name at the Barnes Foundation and the Columbus Museum of Art, this elegantly designed book is essential reading for all those interested in Picasso's work and the dramatic and innovative period of art history during the Great War.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50132733427985,"sku":"GOR013866266","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":50400597967121,"sku":"CIN1785510347G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":52280837636369,"sku":"CIN1785510347VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1785510347.jpg?v=1751217159"},{"product_id":"soutine-de-kooning-book-simonetta-fraquelli-9781911300885","title":"Soutine \/ De Kooning","description":"“I’ve always been crazy about Soutine – all of his paintings,” said the Dutch-American abstract expressionist Willem de Kooning (1904–1997) in 1977. How much de Kooning’s approach was due to the influence of Lithuanian artist Chaim Soutine  (1893–1943) is examined in this exhibition catalogue, in which the two artists are dramatically juxtaposed.  This book accompanies an exhibition organized by the Musée de l’Orangerie, Paris, and The Barnes Foundation, Philadelphia, dedicated to the affinities between the work of Chaim Soutine and Willem de Kooning. It was Dr Alfred Barnes who had made Soutine’s career by buying the bulk of the unknown artist’s available work in Paris in 1923. The exhibition and accompanying publication will show how the work of Soutine had a decisive influence on the development of de Kooning’s art, especially following Soutine’s posthumous retrospective held at The Museum of Modern Art in 1950.  The expressive force of Soutine’s painting, coupled with his image as an ‘accursed’ (maudit) artist struggling with the vicissitudes and excesses of bohemian life in Paris during the interwar years, exerted a particular influence on a new generation of post-war painters in the United States. In 1977 de Kooning emphatically declared: “I think I would choose Soutine [as my favourite artist] ... I’ve always been crazy about Soutine – all of his paintings”. Of all the Abstract Expressionists, de Kooning was the only one who continued to praise Soutine throughout his career and to credit him with an influence on his work. De Kooning very likely first discovered Soutine’s work before the Second World War in the New York galleries. Indeed, his figure paintings of the 1940s with their distortion and sense of compression already shared characteristics with Soutine’s figures painted of two decades earlier. 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