The last, unfinished work of Piet Mondrian (1872-194), the Victory Boogie Woogie was acquired in 1998 by the Dutch government and is on permanent loan at the Gemeentemuseum Den Haag. This work is considered one of the highlights of abstract 20th-century art. It had not been investigated properly before. In 2006 a study was therefore initiated with two purposes, namely research into the genesis of the work while studying the current condition. Besides the painting itself, historical sources and the restoration history were taken into account. The purpose of this publication is to shed light on all aspects of this masterpiece, thus contributing to a better understanding of this art work and a better understanding of the artist.00.

While analyzing Damon Runyon's high spirited work in terms of historical contexts, popular culture, and of the changing function of the media, Schwarz argues that in his columns and stories Runyon was an indispensable figure in creating our public images of New York City culture, including our interest in the demi-monde and underworld that explains in part the success of The Godfather films and The Sopranos . In his lively and exuberant chapters that include a panoramic view of New York City between the World Wars - with a focus on its colourful nightlife - Schwarz examines virtually every facet of Runyon's career from sports writer, daily columnist, trial reporter, and Hollywood figure to the author of the still widely-read short stories that were the source of the Broadway hit Guys and Dolls . As part of his discussion of Runyon's art and the artistry of Runyon's fiction, Schwarz skilfully examines the special language of the Broadway stories known as 'Runyonese', and explains how 'Runyonese' has become an adjective for describing flamboyant behaviour.

Om 40'ernes malerkunst, skulpturer og kunsthåndværk

Pulitzer Prize–winning art critic Sebastian Smee tells the fascinating story of four pairs of artists—Manet and Degas, Picasso and Matisse, Pollock and de Kooning, Freud and Bacon—whose fraught, competitive friendships spurred them to new creative heights. Rivalry is at the heart of some of the most famous and fruitful relationships in history. The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary—one who was equally ambitious but possessed sharply contrasting strengths and weaknesses. Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock’s uninhibited style of “action painting” triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock’s sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend’s mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain’s most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen. Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one’s own as an artist—finding one’s voice—almost always involves willfully breaking away from some intimate’s expectations of who you are or ought to be. Praise for The Art of Rivalry “Gripping . . . Mr. Smee’s skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas.”—The New York Times “With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority.”—The Boston Globe

Winner of the Biennial of Illustrations Bratislava Golden Apple 2011, Coppernickel Goes Mondrian is a graphically sophisticated march into modernity.

Introduction Runyon's New York: Historical Contexts and Fictional Universe The Eyes and Ears of the City: Runyon's Collected Journalism Runyon's Trial Reporting and the Spectator Culture The Art and Artistry of Runyon's Fiction 5Noir and Sentiment: The Genres of Runyon's Fiction (I) Gangsters, Gamblers, and the Demi-monde: The Genres of Runyon's Fiction (II) The Turps: Domesticity in Brooklyn

While analyzing Damon Runyon’s work in terms of historical contexts, popular culture, and of the changing function of the media, Schwarz argues that Runyon was an indispensible figure in creating enduring images of New York City culture, which spurred an interest in the demi-monde and underworld exposed in The Godfather films and The Sopranos. In lively and exuberant chapters that include a panoramic view of New York City between the World Wars--and its colorful nightlife--Schwarz examines virtually every facet of Runyon’s career from sports writer, daily columnist, trial reporter, and Hollywood figure to the author of the still widely read short stories that were the source of the Broadway hit Guys and Dolls. As part of his discussion of Runyon’s art and artistry of Runyon’s fiction, he skillfully examines the special language of the Broadway stories known as “Runyonese” and explains how “Runyonese” has become an adjective describing flamboyant behavior.