Harry Cooper

Nancy K. Anderson

Charles Brock

Unknown countries : early American modernism and the Shein collection / Charles Brock -- Catalogue -- "Find the right people and listen" : evolution of a collection / Nancy Anderson

The Shein Collection

American Modernism

"Hitler and the Secret Alliance is a fantastic journey into the past and, to an extent, the present of the southern half of the Western Hemisphere. Almost everyone has been exposed to some aspects of World War I and II Germany and probably to a lesser extent, South America. However, only a few have delved deeply into the history of southern South America. Readers having an interest in and/or working knowledge of this area of world history from current sources will be amazed how this book puts incidents in perspective and makes the gaps in this history suddenly apparent. For example, the presence of German nationals and representatives of the German government in South America has always been more or less obvious to the public. The extent of this presence in terms of land ownership, businesses and manufacturing enterprises and the influence on countries such as Argentina as illustrated in this book will amaze even the knowledgeable reader.

Hitler and the Secret Alliance

Who said that Hitler did not die in the bunker in April 1945? Josef Stalin told President Harry Truman that Hitler did not. Marshall Zhukov said "We have found no corpse that could be Hitler's." This book not only tells of the escape of Adolf Hitler, Eva Braun and others of the Third Reich; it includes photographs, files from the FBI, CIA and OSS that show the US knew they escaped, interviews and much more. You will also read the reason that no government went after Hitler even though they knew where he was. This book will change the history you were taught in 5th grade.

The Documented Truth of Hitler's Escape from Berlin

Hitler in Argentina

Frank Stella

Megan R. Luke

Arthur M. Sackler Museum

"For Frank Stella, 1958 was a crucial year. After graduating from Princeton University, he moved to Manhattan and painted a series of monumental, colorful canvases that culminated in the first of his famous Black paintings. This book focuses on the thirty or so works he painted in that year. The paintings reflect his transformation from a student experimenting with abstract expressionism to a highly original artist whose works changed the course of postwar art." "Presenting the entire group of works in color for the first time (except those that are lost and known only through black-and-white photographs), this book details the course of Stella's career in 1958. The authors situate his work in relation to that of Jasper Johns, whose debut show in 1958 had a strong impact on Stella, and Carl Andre, with whom Stella shared studio space that year. Their analysis examines concepts of originality, repetition, assemblage, illusion, and opticality to forge a new view of Stella's early development." "Drawing on archival findings, firsthand observations of the paintings, and interviews with Stella and members of his circle, this volume enriches our understanding of a fascinating and critical stage in the artist's development."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Frank Stella 1958

Brice Marden

Lisa G. Corrin

Published to accompany the exhibition Brice Marden, held at the Serpentine Gallery, London, 17 November 2000 - 7 January 2001.

Serpentine Gallery, London : 17 November, 2000-7 January, 2001

Mitchell-Innes & Nash

Jack Tworkov

Red, White and Blue

National Gallery of Art (U.S.)

A selection of images from the Meyerhoff collection, which was built around six major figures: Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Brice Marden, Robert Rauschenberg, and Frank Stella.

Selected Works

The Robert and Jane Meyerhoff Collection

Harvard University. Art Museums

Ron Spronk

Just before World War II, Piet Mondrian fled from Paris to London and later to New York, where he lived until his death in 1944. Upon his arrival in Manhattan, the artist began reworking seventeen of the paintings he brought with him, many of which had already been finished and exhibited. He changed lines and added blocks and bars of color to give them what he called "more boogie-woogie." By inscribing these so-called transatlantic works with a double date, for example "38/42," Mondrian emphasized the exceptional history of the series.

Harry Cooper

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