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Painting, Politics and the Struggle for the Ecole de Paris, 1944-1964 is the first book dedicated to the postwar or 'nouvelle' Ecole de Paris. It challenges the customary relegation of the Ecole de Paris to the footnotes, not by arguing for some hitherto 'hidden' merit for the art and ideas associated with this school, but by establishing how and why the Ecole de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this 'school' was constituted by the paintings of a diverse group of artists, by the combative field of...

Material Imagination examines the interrelated concepts of matter, materialism, and materiality in postwar European art, from 1946-1972.

• Provides a unique perspective on European art by prioritizing material dimensions over concept or context, while also paying attention to theoretical and historical concerns
• Explores artists' methods and materials in order to better understand the social and cultural environments in which their works of art were made
• Demonstrates how materials can be harnessed to affect the critical interpretation of...

Painting, Politics and the Struggle for the A0/00cole de Paris, 1944-1964 is the first book dedicated to the postwar or 'nouvelle' A0/00cole de Paris. It challenges the customary relegation of the A0/00cole de Paris to the footnotes, not by arguing for some hitherto 'hidden' merit for the art and ideas associated with this school, but by establishing how and why the A0/00cole de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this 'school' was constituted by the paintings of a diverse group of artists, by the...

Academics, Pompiers, Official Artists and the Arrière-garde: Defining Modern and Traditional in France, 1900-1960 is a collection of eight essays and a scholarly introduction by established and emerging scholars that challenges the continuing modernist slant of twentieth-century art history. The intention is not to perpetuate the vulgar opposition between avant-garde and reactionary art that characterized early-twentieth-century discourse and has marked much subsequent historical writing, but rather to investigate the complex relationship that both innovative and conservative artists had to...