The Bradley Collection comprises the core of the Milwaukee Art Museum’s holdings of modern art. With nearly 400 paintings, sculptures, and works on paper, it features works by groundbreaking artists across the 20th century, including Pierre Bonnard, Georges Braque, Helen Frankenthaler, Barbara Hepworth, Donald Judd, Ellsworth Kelly, Gabriele Münter, Georgia O’Keeffe, Pablo Picasso, and Mark Rothko.

This book tells the story of how Peg Bradley built the collection—and then how she gave it away, transforming her hometown museum and community. The first comprehensive catalog of the collection, it brings together new research and insights by international scholars to shed light on works that have been long admired but little studied. The book is lavishly illustrated throughout with highlighted works and an illustrated checklist, allowing readers to visualize every work in the collection. In addition to focusing on this extraordinary gift, the essays will appeal to anyone interested in the larger arc of modern art. 

Experience Formula 1 as never before. Formula 1 – The Art Dimension transforms the world’s most thrilling motorsport into pure photo art. Each page captures the drama, elegance, and raw power of F1 through breathtaking, gallery-worthy photography. Whether you’re a lifelong fan or a devotee of fine photography, Formula 1 – The Art Dimension is more than a book—it’s a piece of art in itself. Discover the artistry of Formula 1.

From long lost paintings to ephemeral sculptures; from whimsical performances to iconic public murals; and from independent films to landmark design objects, the surprising and provocative contents of Moving Focus, India have been provided by a varied group of experts. A first of its kind, this book invited 54 artists, curators, historians and writers to each create a list of five works of art, made at any time since 1900, by artists living in India or identifying as part of its diaspora.  

With over 250 individual nominations, including artists whose works have been exhibited at venues as various as Houghton Hall (Anish Kapoor, 2020), the Asia Society Museum, New York (MF Husain, 2019) and the Piramal Museum of Art, Mumbai (SH Raza, 2018), the exercise produced thrilling and unexpected choices across many mediums. Drawing from a wide range of private and public collections, the selections reveal the diversity and inclusiveness of today’s art scene: an art scene that has embraced the progressive changes evident in society at large. In addition to these lists, the book includes reflections on collecting, curating and canon-formation from a range of important voices, by way of a roundtable discussion and a series of essays.  

Spread over two volumes and marked by an innovative and fresh design sensibility, whether you are familiar with modern and contemporary art from the subcontinent or looking for an introduction, Moving Focus, India contains a wealth of information. Lavishly illustrated with over 1,000 archival and freshly commissioned photographs, this book is an important and timely addition to the global art discourse and a key source of reference. 

Nominated artists include Ramkinkar Baij, Chittaprosad, VS Gaitonde, Amrita Sher Gil, Rummana Hussain, Bhupen Khakhar, Nasreen Mohamedi, Benode Behari Mukherjee, Meera Mukherjee, Mrinalini Mukherjee, Gieve Patel, Sudhir Patwardhan, Nilima Sheikh, Jangarh Singh Shyam, KG Subramanyan, Vivan Sundaram, Zarina and many more. 

The common thread running right through this work is man’s link with the land, the legacy of the ancestors that still echoes in the present. It is no accident that Before Time Began is one of the expressions used by Aboriginal artists in central Australia to refer to the creation of the world, in an oneiric sense. Understanding and following this underlying bond enables the reader to explore the art’s narrative content in its association with dreams and the passage of time, elements that inevitably distinguish the temporal dimension in the different societies. But it is also a way of exploring the first stirrings of contemporary art in an Aboriginal context through works made at the beginning of the 1970s in Arnhem Land and in the territory of the Papunya, as well as more recent paintings by artists living in the APY (Anangu Pitjantjatjara Yankunytjatjara). These last examples in particular highlight the fusion between contemporary art and traditional customs, in which ancestral knowledge is fused with elements drawn from the inevitable march of progress.

‘Beauty is the beacon of God,’ said Botticelli. ‘No, it’s not. Love is,’ snapped his sister.

Beauty: Botticelli in Florence imagines what Botticelli was feeling and thinking as he painted. The people he loved and despised, his private struggle between spirituality and sensuality, the tempestuous times he lived through – all come to life in his images…

The novel is a speculation based on the few facts known about Botticelli, informed by his paintings. There are many surprises. The Birth of Venus was a tapestry design. And his famed self-portrait didn’t depict him (as widely believed) but Pierfrancesco de Medici, who sued his powerful cousin Lorenzo for robbing him, abolished Florence’s homophobic witch-hunts, funded Vespucci’s journey to the New World and commissioned Botticelli’s most famous works. There was boiling tension between him and Botticelli.

This is the first in a sequence of illustrated ‘painting novels’ that make sights as telling as words.

This book addresses a phenomenon that pervades the field of art history: the fact that English has become a widely adopted language. Art history employs language in a very particular way, one of its most basic aims being the verbal reconstruction of the visual past. The book seeks to shed light on the particular issues that English’s rise to prominence poses for art history by investigating the history of the discipline itself: specifically, the extent to which the European tradition of art historical writing has always been shaped by the presence of dominant languages on the continent.

What artistic, intellectual, and historical dynamics drove the pattern of linguistic ascendance and diffusion in the art historical writing of past centuries? How have the immediate, practical ends of writing in a common language had unintended, long-term consequences for the discipline? Were art historical concepts transformed or left behind with the onset of a new lingua franca, or did they often remain intact beneath a shifting veneer of new words?

Includes 10 essays in English, four in Italian, and one in German. 

Text in English, German and Italian.

Yaozhou ware is one of the finest Chinese celadons, made in north China over a period of 700 years, from the 7th to the 14th centuries. Their style developed and changed over time. In the Tang dynasty (618-906) black, brown, lead glazed and black-on-white painted ceramics were made. During the Five Dynasties period (907-960) a technical peak was achieved, and white-bodied wares with beautiful blue-green glazes appeared. During the Northern Song and Jin dynasties (906-1279) more olive-toned celadon glazes became the norm, their intricate decoration and lustrous surfaces supplying a unique aesthetic. At the end of the Jin dynasty the kilns declined and started to manufacture folk ware.

Yaozhou Wares from Museums and Art Institutes Around the World gathers illustrations and descriptions of some of the finest Yaozhou wares in private and public collections around the globe. The account considers ceramics in sections, according to their form and decoration, and includes the finest-quality ‘official wares’ requisitioned for imperial use. Copious illustrations are augmented by a scholarly essay. Highlighting over 400 pieces of Yaozhou ware, the book contains 711 color and 3 black-and-white illustrations from 56 major museums and art institutes, and will inspire collectors, students and anyone with a love for Chinese ceramics.

Inferno & Paradiso is a powerful photographic and editorial project that confronts the fragile tension between horror and joy, pain and hope. Conceived by artist Alfredo Jaar and featuring works by 20 leading photojournalists, each contributor presents two images: one depicting the darkest aspects of human suffering, the other capturing a moment of pure, often unexpected joy. Originally created in response to Jaar’s experience of the Rwandan genocide, the project resists apathy and indifference, challenging the spectator to engage with the complex emotional spectrum of our contemporary condition. With an immersive slide installation and a richly layered book, the work explores how images bear witness to reality while also asking fundamental questions about the possibility of happiness in a fractured world. Drawing inspiration from Dante and humanist theology, Inferno & Paradiso becomes a secular pilgrimage through human experience, paying homage to the moral courage of those who testify through images.

The Art of Endurance is a coffee table book about the 2024 season of the FIA World Endurance Championship (WEC), which is one of the most exciting competitions in motorsport. This book is based on the very rich production of images that will be developed and embellished over the eight races that are held around the globe on internationally renowned circuits, including the legendary 24 Hours of Le Mans. The main goal is to capture the “spirit” that characterizes these endurance races. This beautiful publication will be a perfect promotional tool for the championship, whose considerable drawing power is due to the number of competitors and manufacturers who are taking part.

100 Masterpieces of Chinese Painting presents a curated journey through two millennia of China’s artistic legacy, featuring iconic works from ancient lacquer paintings to modern ink masterpieces. Each of the 100 selections is paired with expert commentary from Chinese Modern Contemporary Art Document (CCAD) scholars, offering fresh insights into technical brilliance and cultural context. Designed for portability with gallery-quality reproductions, this compact volume invites art lovers and curious minds alike to explore the evolution of Chinese aesthetics—one timeless brushstroke at a time.

In Kari Steihaug’s art, what is overseen plays a major role. The things that have been set aside, unfinished projects, objects that are worn or frayed are all solicitously brought into the light. This is also evident in the materials used by the textile artist: Steihaug’s works feature worn out woollen garments as well as unfinished knitwear. By embracing imperfection, her creations become a counterbalance to the galloping consumer culture of our time, allowing us to see with fresh eyes what surrounds us in everyday life.

This book brings together 25 years of her work. Contributions in poetry and prose introduce Steihaug’s work and trace the lines of a diverse and rich practice.

With contributions by Monica Aasprong, Ingvill Henmo, Anne Karin Jortveit, Aasne Linnestå, Halvor Nordby, Kjetil Røed, Cecilie Skeide, and Kari Steihaug.

The Mediterranean coast of France witnessed the rise and development of modern art over a century, from Cézanne in the 1860s to Matisse, Picasso and Klein in the 1950s and 1960s. These artists and the many more featured here discovered an inexhaustible source of inspiration in this storied region, whose glittering, languid sea stretches out towards the far horizon beneath brilliant azure skies. Indelibly associated with the classical past, this magical land of eternal spring and spiritual renewal came to signify a state of mind, and avant-garde artists sought to convey the vitality and élan it inspired in them through new paradigms of modernist invention.

Desperately Young introduces the masterpieces left behind by some of the greatest rising stars in fine art – all of whom died before their thirtieth birthday.

Precocious talent seeps from each artist’s work, along with a sense of unfulfilled potential. Informative biographies detail their legacies, while their tragic deaths lead us to wonder what heights they might’ve reached, had their lives not been cut short. Richly illustrated, Desperately Young presents prime examples of each artist’s work, demonstrating how our cultural heritage is just a little narrower for their loss.

From Europe to America to Japan and the Indian Subcontinent, the mid-14-hundreds to the late 20th century, this book hails the acknowledged greats and introduces those who died before they could leave an indelible mark on history. A compendium of 109 artists who fell prey to sickness, warfare, heartbreak or bad luck, Desperately Young is the only book to provide an in-depth study of artists who died young.

Contents: With works from Tommaso Masaccio, Frédéric Bazille, Thomas Girtin, Egon Schiele, Henri Regnault, Ernst Klimt, Jeanne Hébuterne, Kaita Murayama, Hermann Stenner, Maurycy Gottlieb, Fyodor Vasilyev, Marie Bashkirtseff, Richard Parkes Bonington, Luisa Anguissola, Walter Deverell, August Macke, Pauline Boty and Jean-Michel Basquiat – among many others.

Looted Art & Restitution relates the history of the trade, looting and restitution of works of art from the Netherlands before, during and after World War II. Countless artworks ended up in German hands during the occupation. The allies recovered a large number of works of art to the Netherlands after the war. It was the Dutch government’s task to return looted or forcibly sold works to their original owners. The mostly Jewish claimants, however, often encountered bureaucratic and unwilling authorities. Meanwhile, most of the artworks were distributed over museums and depots or auctioned off.

It was not until the late 1990s that, in accordance with international developments, the restitution policy became much more humane and a search for the rightful owners was implemented.

Art pushes boundaries and so does skateboarding. This book explores this philosophy by showcasing skateboard-inspired artists and their work from around the world. From artists working in the skateboard community to freelancers being influenced by it. From traditional pencil to digital drawing. They all have one thing in common: skateboarding. Skate & Art, following bestseller Surf & Art by Veerle Helsen, is curated and written by Michele Addelio, editor of Backside skate magazine who explores the skate scene outside the mainstream. In his online publication he has interviewed over 50 skateboard-inspired artists. This experience laid the foundation to continuously discover the diversity and beauty of the two art forms colliding.  

Italian and American Art focuses on the period between 1930 and 1980 in particular. By comparing artworks and examining exhibition and gallery policies, political meddling, and figures linking Italy to the United States, a common thread emerges which held two worlds that were literally an ocean apart but in constant touch as they explored each other’s movements contributing to art, from Futurism, Concrete art, and Abstract Expressionism, to Nuclear art, Pop art and Spatialism.

From the end of the 19th century onwards, jewelry became an important vehicle for the formal experimentation and plastic innovation of its time, thanks to the development of knowledge about stone, the techniques used to produce it and the development of the art of jewelry. Books and exhibitions showcase this leading decorative art, which accompanied Romanticism in all its forms. It accompanied Romanticism in its final stages before adopting the emerging Art Nouveau repertoire.

Text in English and French.

The career of Y.G. Srimati – classical singer, musician, dancer and painter – represents a continuum in which each of these skills and experiences merged, influencing and pollinating each other.

Born in Mysore in 1926, Srimati was part of the generation much influenced by the rediscovery of a classical Sanskrit legacy devoted to the visual arts. Soon swept up in the nationalist movement for an independent India, she was deeply moved by the time she spent with Mahatma Gandhi. For the young Srimati, the explicit referencing of the past and of religious subjects came together in an unparalleled way, driven by the conscious striving for an indigenous agenda. This experience gave form and meaning to her art, and largely defined her style.

As John Guy demonstrates in this sumptuous volume, as a painter of the mid and late twentieth century, Y.G. Srimati embodied a traditionalist position, steadfast in her vision of an Indian style, one which resonated with those who knew India best.

Nineteenth-Century European Painting: From Barbizon to Belle Époque represents a comprehensive guide to the range of stylistically diverse genres of nineteenth-century European painting. Accessible and insightful, this exquisitely illustrated volume presents the historical context behind the century’s essential artistic movements including Romantic Painting, The Pre-Raphaelite Brotherhood, Realist Painting, Academic Painting, and Impressionist Painting. Influenced by an overwhelming wave of political, military and social change, nineteenth-century Europe represented an era more diverse in painterly subjects and styles than any before it. Indeed, it was a period that saw many European painters moving away from the strictures of the academy system, choosing instead to use their training to develop new techniques and traditions. A collection of independent stories, this book also outlines the unique progression between the different movements, exciting and enlightening the reader about the most magnificent period of art the world has ever known. Contents: Foreword; Dr. Vern G. Swanson; Introduction; Author’s Note; STYLES: The Barbizon School; Romantic Painting; Orientalist Painting; The Pre-Raphaelite Brotherhood; Realist Painting; Academic Painting; Impressionist Painting; The Newlyn School; Post-Impressionist Painting; SUBJECTS: Landscape Painting; Venetian View Painting; Maritime Painting; Sporting Painting; Animal Painting; Genre Painting; Cardinal Painting; Costume Painting; British Neoclassical Revival Painting; Belle Époque Painting; Conclusion; Endnotes; Bibliography. Featured works from museums and collections including: Louvre, Paris, Yale University Art Gallery, New Haven, Wallace Collection, London, Fine Art Museum of San Francisco, The Tate Gallery, London, The Schaeffer Collection, New South Wales, The Royal Collection, The Royal Academy of Arts, England, The Musée D Orsay Paris, Henri de Toulouse-Lautrec, The Metropolitan Museum of Art, New York (Catherine Lorillard Wolfe Collection), The J. Paul Getty Museum, Los Angeles, The Hermitage, Saint Petersburg, Russia, Russell-Cotes Art Gallery and Museum, Bournemouth, England, Rijksmuseum, Amsterdam, Plymouth City Museum and Art Gallery, Stanhope Forbes, Philadelphia Museum of Art, Pennsylvania, PA, USA, Paisnel Gallery, London, National Gallery, London, National Gallery of Victoria, Melbourne, Museum of Fine Arts, Boston, Museo e Gallerie Nazionale di Capodimonte, Naples, Italy, Museo de Arte, Ponte, Puerto Rico, Musée Marmottan, Paris, Musée D Orsay, Paris, Auguste Renoir, Metropolitan Museum of Art, New York, among many others.

Hotspot Leipzig and the subsequent Neue Leipziger Schule represent a highly influential movement within contemporary figurative art. Originating at the Hochschule für Grafik und Buchkunst in Leipzig, this artistic tradition places strong emphasis on craftsmanship and realism. Artists such as Werner Tübke, Bernhard Heisig, and Wolfgang Mattheuer laid the foundation with their technically refined and socially engaged works. Following the fall of the Berlin Wall, the Neue Leipziger Schule emerged, with artists like Neo Rauch, Rosa Loy, and Matthias Weischer blending realism with dreamlike and surreal elements.

Since 2009, the Drents Museum has devoted considerable attention to these movements. Exhibitions such as Realism from Leipzig and solo presentations by Rosa Loy, Kristina Schuldt, Mirjam Völker and Tilo Baumgärtel reflect the museum’s long-standing commitment to these artists. The museum has also built an extensive collection of works from both the original and the new Leipzig schools, including recent acquisitions like Baboom by Tilo Baumgärtel. The book includes essays by leading authors and a comprehensive selection of works.

Text in English and Dutch.

This issue of Metaphysical Art – The de Chirico Journals no. 21/22 (2022), centers around Giorgio de Chirico’s correspondence with his friend Fritz Gartz (1909–1911), which has been transcribed and translated into English. A related essay by Simonetta Antellini discusses de Chirico’s writing style and use of the German language. Other essays include Fabio Benzi’s examination of Florence’s cultural milieu in the years 1910–1911, which analyzes the musical, artistic, literary, and philosophical context in which Metaphysics was born. Elena Pontiggia presents a large and previously unpublished collection of letters written by de Chirico to his mother Gemma Cervetto, which has recently been acquired by the Foundation. Riccardo Dottori’s article offers a new interpretation of the painting Serenata (1910), based on a fresh literary source: On the Cave of the Nymphs by the ancient Neoplatonic philosopher Porphyry. Completing this volume is a narrative essay by Italo Calvino entitled Cities of Thought (1983), translated into English and introduced by Anne Greeley, which was published alongside a major Paris retrospective of de Chirico’s metaphysical works.

The best art isn’t just created in art schools. Scratched into cave walls, molded in clay, embroidered onto clothing, sketched in the margins, painted on scrap cardboard in time snatched after work, perhaps in secret. Art is not only made inside academies and institutions by people with money and training, though sometimes the canon suggests otherwise. From Ukrainian pansky eggs to politically charged quilts, these 65 artworks challenge our preconceptions about what constitutes art, how it should be made and who should make it.