The author recounts her encounters with Matisse, Picasso, and Miro, interwining life and art.

"This book is a revised and expanded edition of The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, published in 2013 by the Art Institute of Chicago"--Verso of title page.

Previously published: London: Fig Tree, [2014].

In Paris it seemed to me that there was everything to discover, above all the art of craftmanship. - Marc Chagall Already by the end of the nineteenth century Paris had become a mecca for the graphic arts, with artists such as Henri de Toulouse- Lautrec, Jules Chéret and Théophile-Alexandre Steinlen creating prints and posters there that were enthusiastically received by critics and collectors alike. Based on these developments was the twentieth-century production in the French capital of artists' books containing original prints, through which artists including Pierre Bonnard, Pablo Picasso, Max Ernst, Marc Chagall, Henri Matisse and Joan Miró reached audiences much wider than those they could access with their paintings. Masterpieces of the book medium came into being at the hands of printers like Fernand Mourlot and publishers Ambroise Vollard, Tériade and Aimé Maeght. Based on the extensive collection of Museum Folkwang in Essen, Chagall, Matisse, Miró. Made in Paris presents outstanding examples of artists' books and portfolios including Matisse's Jazz, Picasso's La Tauromaquia, Miró's A toute épreuve and Chagall's etchings for the Hebrew Bible-all set in the context of the nineteenth century and the work of contemporary artists such as Jim Dine and David Lynch.

Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States. Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, "Avant-Garde and Kitsch" set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day.