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As managing director of the London Underground in the 1920s and the first chief executive of London Transport, Frank Pick (1878–1941) had more influence than any other individual on the look of 20th-century London. Pick’s vision for the city was more powerful than anyone’s since Christopher Wren, and his pas­sionate belief in the social and civic value of good, practical applied art and design was extended across his vast organization. Frank Pick’s London explores his extraordinary contribution to the environment and everyday experience of modern London through his meticulously planned approach to everything from maps through the distinctive red, white, and blue Underground logo and typeface to publicity posters and upholstery fabrics created by famous artists such as Man Ray, Edward McKnight Kauffer, Paul Nash, and Edward Bawden.
The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this fascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public. Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medieval modernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and other nineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design. This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work of Frank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers? In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history.
Froggy and friends enjoy a back-to-school ritual: a trip to the pumpkin patch. Froggy can't wait to pick a pumpkin. He plans to carve a jack-o'-lantern and make a pumpkin pie. Prizes are given for the biggest, smallest, and prettiest pumpkin, but when Froggy trips and smashes his pumpkin, he takes home a special prize--for the ugliest pumpkin!
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
"This book is also a kind of anthology. Many of Frank's statements, particularly some of the more obscure ones, are reproduced here in full. Some elusive texts about Frank are reprinted as well."--Page v
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Includes music.
�A book full of richness, unexpected enticements, short sharp shocks and breathtaking writing� Guardian Welcome to the real, unauthorised London: the disappeared, the unapproved, the unvoiced, the mythical and the all-but forgotten. The perfect companion to the city. �Exhilarating, truly wonderful, a cavalcade of eloquent writing. London demands an anthology like this to remind us of the irascible quirkiness of its residents, and we have Sinclair to thank for marshalling such a perverse and ultimately pleasurable exercise� Independent on Sunday

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