Kirjahaku

An engaging and accessible introduction to one of the 20th century’s greatest and most enigmatic artists This richly illustrated publication explores the full career of the hugely influential and endlessly fascinating French-American artist Marcel Duchamp (1887–1968). A pioneer whose creative output was predicated on a fundamental questioning of what art is, Duchamp is well known despite remaining mysterious as an artist, owing to his elusive persona and the unconventional nature of his work. Focusing on the world-renowned Duchamp collection at the Philadelphia Museum of Art, The Essential Duchamp tells the artist’s story through four key periods. The book begins with his early paintings and engagement with the avant-garde, then charts his abandonment of painting and invention of the readymade. This is followed by the creation of his alter ego Rrose Sélavy and the optical experiments of the interwar years, and, finally, by the making of Étant donnés (1946–66), the project that occupied the artist in the final two decades of his life. Shorter accompanying texts include explanations of key terms Duchamp used for his innovative ideas—readymade, precision optics, pictorial nominalism, and infrathin—as well as interviews and statements by the artist about his own art and ideas.Published in association with the Philadelphia Museum of ArtExhibition Schedule:Tokyo National Museum (10/02/18–12/09/18)National Museum of Modern and Contemporary Art, Seoul (12/22/18–04/07/19)Art Gallery New South Wales, Sydney (April–August 2019)

A lively history of Surrealism, from its beginnings in Paris to its expansion into an international artistic movement Dreamworld: Surrealism at 100 celebrates the centennial of André Breton’s Manifesto of Surrealism (1924), which launched one of the essential currents of twentieth-century thought and culture. Matthew Affron investigates how artists made good on Surrealism’s promise of a revolution in consciousness by means of the unbridled imagination. This book highlights the key motivations, principles, themes, and techniques of Surrealist art from the early 1920s to the late 1960s. It also underscores Surrealism’s spread beyond its birthplace in Paris, with a focus on the migration of artists to hubs in North America—especially New York City and Mexico City—during the Second World War. This lively, richly illustrated publication features works in a wide range of media by a diverse group of artists, including Jean Arp, Leonora Carrington, Joseph Cornell, Max Ernst, Frida Kahlo, Salvador Dalí, Marcel Duchamp, Wifredo Lam, Man Ray, André Masson, Joan Miró, Pablo Picasso, Dorothea Tanning, Remedios Varo, and many others. Distributed for the Philadelphia Museum of Art Exhibition Schedule: Philadelphia Museum of Art (November 8, 2025–February 16, 2026)

Emilie Charmy (1878-1974) charted a remarkable course in the world of French modern art in the first half of the twentieth century. Her earliest works, executed around 1900, explored the legacy of Impressionist and Post-Impressionist painting. An engagement with the avant-garde circle of Fauve painters defined her art in the years leading up to the First World War. In the ensuing interwar period, Charmy found her mature style, characterized by optical realism, an adherence to the traditional genres of portraiture, the nude, landscape, and still life, and a modernist notion of direct, vigorous paint application as a mark of artistic sincerity. This attitude found its ultimate expression in numerous renderings of the female nude, which, by virtue of Charmy's melding of ostensibly feminine and masculine qualities, charm and seductiveness on the one hand and power and firmness on the other, confounded prevailing expectations about the nature of women's art. These images retain their provocative force today. This publication accompanies the first U.S. retrospective of the painting of Emilie Charmy, which is organized by the Fralin Museum of Art at the University of Virginia. Exhibition curator Matthew Affron surveys key phases of Charmy's artistic career in relation to major issues in modern French painting of her era. Sarah Betzer examines two principal subjects of Charmy's early work, the nude and the bourgeois interior, as evidence of an ambitious dialogue with avant-garde precedent. Rita Felski considers Charmy in light of recent feminist approaches to the study of the role women creators played in defining modernism.