Linwood Messina Literary Agency is a boutique agency based in Paris representing rights on behalf of French and English language publishers, agencies and authors. Our list is quite diverse covering mostly every genre except for SF and children's books.
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Topical, authentic and high quality books under the Marshall Cavendish Editions imprint provide general interest content that informs, entertains and engages readers.
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Fragonard's playful paintings is the first critical analysis of the function of play as an artistic concept and visual experience in Rococo art. The art of Jean-Honoré Fragonard embodies the pervasive culture of play in eighteenth-century France. His interactive paintings and drawings invite beholders to engage in a visual game of interpretation through subject, form and theme. This book not only examines Fragonard's art through close analyses of individual works, but also considers the role of the viewer within a variety of contexts related to social behaviour, philosophy, literature and aesthetics. More than any other artist from the period, Fragonard produced images of play that evidence the ludic impulses of ancien-régime thought and expose the underlying significance of eighteenth-century frivolity. Focused on bringing students and specialists closer to works of art, the book addresses what we see in order to understand better how paintings about play can stimulate playful ideas through dynamic exchanges between artist, image and beholder. ;
De Stijl was the title of a magazine founded in the Netherlands in 1917 and is now used to identify the abstract art and functional architecture of its major contributors: Mondrian, Van Doesburg, Van der Leck, Oud, Wils and Rietveld. This book is the first to emphasize the local context of De Stijl and explore its relationship to the distinctive character of Dutch modernism. Examines the connection between debates concerning abstraction in painting and spatiality in architecture and contemporary developments in the fields of urban planning, advertising, interior design and exhibition design. Describes the interaction between the world of mass culture and the fine arts. ;
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Although cultural exchanges were named within the Council of Europe in the mid- 1950s as being second only in importance to the military as a tool for ensuring a stable and integrated Western Europe in the aftermath of the Second World War, European-led initiatives have generally been overlooked in the historiography of art of the immediate post-war period. Popularly remembered as the era of the United States' cultural 'triumph', American Abstract Expressionism in particular is commonly identified as the cultural 'weapon' by which that nation conquered Western European culture. Using the Venice Biennale as a case study, this book challenges the idea that there was an American cultural conquest in the 1950s through the fine arts, arguing instead that Western Europe retained a strong sense of world cultural leadership in the immediate post-war years. An institutional history that combines political and diplomatic with art history, and is informed by extensive archival research, it argues that Italian political and cultural figures actively promoted the 'Idea of Europe' - the Council of Europe's cultural initiative of 1955 designed to promote the idea of a homogeneous post-war European culture - at the Biennale in the form of gesture painting as an international style, as the emblem of a culturally united Western Europe, and as the repository of universal humanist values for the international community. Scholarly but accessible, this book will be of interest not only to researchers and to students of international cultural relations during the Cold War, but to general, interested readers, too. ;
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Cubism was the most influential artistic movement that emerged in the twentieth century. The hallmarks of its style were stamped on the art, design and architecture and its aesthetic principles governed the representation of modernity across all the arts. Yet just what cubism was, or stood for, at the time of its emergence is still in dispute, while the explanations offered for its importance for twentieth-century art, and its legacy for the present, are bewildering in their variety. This fascinating book offers a way beyond this confusion: a narrative of its beginnings, consolidation and dissemination that takes into account not only what the style and the movement signified at the time of its emergence but also the principal writings through which cubism's significance for modernism has been established. Visually stunning with over 100 illustrations, this is an essential work for all students and teachers of modern art history. ;
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In the 1920s and 1930s, anthropology and ethnography provided new and striking ways of rethinking what art could be and the forms which it could take. This book examines the impact of these emergent disciplines on the artistic avant-garde in Paris. The reception by European artists of objects arriving from colonial territories in the first half of the twentieth century is generally understood through the artistic appropriation of the forms of African or Oceanic sculpture. The author reveals how anthropological approaches to this intriguing material began to affect the ways in which artists, theorists, critics and curators thought about three-dimensional objects and their changing status as 'art', 'artefacts' or 'ethnographic evidence'. This book analyses texts, photographs and art works that cross disciplinary boundaries, through case studies including the Dakar to Djibouti expedition of 1931-33, the Trocadéro Ethnographic Museum, and the two art periodicals Documents and Minotaure. Through its interdisciplinary and contextual approach, it provides an important corrective to histories of modern art and the European avant-garde. ;
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"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
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Sonderausgabe
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Eine Vielzahl von bisher unpublizierten Texten, Bildern und Dokumenten eröffnet eine neue und unerwartete Perspektive auf das Leben und Werk Theodor W. Adornos. Von den frühen Zeugnissen aus der Kindheit, wie etwa einem bisher unbekannten Jugendtagebuch, das transkribiert und z.T. faksimiliert vorgelegt wird, über Dokumente aus seinen Studien- und Exiljahren bis hin zur Rückkehr nach Frankfurt und seiner Arbeit am Institut für Sozialforschung und an der Frankfurter Universität verfolgt der Band das Leben Adornos am Leitfaden von überaus anschaulichen, prägnanten, im besten Sinne »sprechenden« Zeugnissen. Neben einem weiteren Tagebuch aus dem Jahr 1949 finden sich zahlreiche, hier erstmals veröffentlichte Briefe, Notizen, Kompositionen, Photographien und Skizzen aus seinem Nachlaß.
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Women, the arts and globalization: Eccentric experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense. ;
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The West must wait presents a new perspective on the development of the Irish Free State. It extends the regional historical debate beyond the Irish revolution and raises a series of challenging questions about post-civil war society in Ireland. Through a detailed examination of key local themes - land, poverty, politics, emigration, the status of the Irish language, the influence of radical republicans and the authority of the Catholic Church - it offers a probing analysis of the socio-political realities of life in the new state. This book opens up a new dimension by providing a rural contrast to the Dublin-centred views of Irish politics. Significantly, it reveals the level of deprivation in local Free State society with which the government had to confront in the west. Rigorously researched, it explores the disconnect between the perceptions of what independence would deliver and what was achieved by the incumbent Cumann na nGaedheal administration.
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Literatur wie eine Nacht im Freien Es ist ein Ort, an dem die Arbeit für gewöhnlich hart, Geld knapp und die Natur prächtig ist, durchgezogen vom Band des Yellowstone River, mit den Rockies am Horizont. Für die Männer in Callan Winks Stories ist es der letzte beste Ort und ihr Zuhause. Doch jeder von ihnen läuft Gefahr, in der Weite des heutigen American West verloren zu gehen: Einer bezahlt einen Faustschlag mit zwei Jahren Gefängnis. Ein anderer schmeißt alles hin, um auf einer Farm zu schuften. Und noch ein anderer befreit aus Mitleid einen Hund, kurze Zeit später flieht er vor zwei bewaffneten Verrückten quer über die Felsen durch die Nacht, barfuß und nackt … Callan Wink hat ein Buch über Sehnsucht, Schuld und das Kräftemessen mit der Natur geschrieben. »Der letzte beste Ort« ist der fulminante Auftakt eines Erzählers, der Richard Ford und Philipp Meyer nachfolgt. Durchwirkt von der Ehrfurcht gegenüber der Schönheit seiner Heimat, in einer Sprache von kristalliner Vehemenz.
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Literatur wie eine Nacht im Freien Es ist ein Ort, an dem die Arbeit für gewöhnlich hart, Geld knapp und die Natur prächtig ist, durchgezogen vom Band des Yellowstone River, mit den Rockies am Horizont. Für die Männer in Callan Winks Stories ist es der letzte beste Ort und ihr Zuhause. Doch jeder von ihnen läuft Gefahr, in der Weite des heutigen American West verloren zu gehen: Einer bezahlt einen Faustschlag mit zwei Jahren Gefängnis. Ein anderer schmeißt alles hin, um auf einer Farm zu schuften. Und noch ein anderer befreit aus Mitleid einen Hund, kurze Zeit später flieht er vor zwei bewaffneten Verrückten quer über die Felsen durch die Nacht, barfuß und nackt … Callan Wink hat ein Buch über Sehnsucht, Schuld und das Kräftemessen mit der Natur geschrieben. »Der letzte beste Ort« ist der fulminante Auftakt eines Erzählers, der Richard Ford und Philipp Meyer nachfolgt. Durchwirkt von der Ehrfurcht gegenüber der Schönheit seiner Heimat, in einer Sprache von kristalliner Vehemenz.
