这本书追溯了印象派的起源，直到它传到了美国和澳大利亚。拉尔夫·斯基展示了印象派艺术家如何改变日常题材。

印象派画家大胆地运用色彩和快速的笔触，在室外作画，捕捉光线和瞬间感觉的效果。印象主义逐渐被广泛接受，现在我们体会到它对现代艺术的深远影响。

This book traces Impressionism’s origins to its spread to America and Australia. Ralph Skea shows how Impressionist artists transformed everyday subject matter. Daringly using colour and rapid brushstrokes, the Impressionists worked out of doors, creating paintings that captured the transient effects of light and feeling. Impressionism’s initial shock factor gradually gave way to widespread acceptance, but only now can we appreciate how profound its influence has been on modern art.

罗•塞尚（Paul Cézanne），乔治•修拉（Georges Seurat）, 保罗•高更（Paul Gauguin），文森特•梵•高(Vincent van Gogh)，亨利•德•图卢兹-罗特列克（Henri de Toulouse-Lautrec）和其他艺术家都是以印象派的身份出道，但很快他们便拓宽了对周围世界的探索，创作出极具个人风格的作品。他们以印象画派亮丽的颜色为基础，摆脱了传统的具象派艺术的束缚。虽然这些后印象派画家都是独自创作，但他们共同架起了一座通往20世纪表现主义的桥梁。这本漂亮的新书收录了他们那些能引发人无限遐思的杰作。

Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec and others began as Impressionists but soon extended their explorations of the world around them to create highly personal work. With their foundations in the bright colours of Impressionism and the break from traditional representational art, the Post-Impressionists worked alone but collectively created the bridge into the expressionism of the 20th Century. Their delightful and evocative masterpieces are celebrated in this gorgeous new book. 

汉斯•里希特（Hans Richter）的《达达：艺术与反艺术》是一部具有里程碑意义的出版物。它于1965年首次发行英文版，彻底改变了对达达主义的诠释：从一种文学现象变为一种艺术现象。从那时起，它成为所有对该主题感兴趣的人的第一个落脚点。作为第一次世界大战期间苏黎世第一个达达组织的成员，Richter尤其有资格来讲述达达主义的历史，他的书不仅汇集了重要的历史文献，还汇集了朋友们的记述，例如马塞尔•杜尚（Marcel Duchamp），马克斯•恩斯特（Max Ernst）和Raoul Hausmann。他叙事方式的令人信服的本质继续启发着艺术家和历史学家们。为了庆祝达达主义诞生一百周年，Thames & Hudson完全按照首次出版时的样子用扩大版的百年纪念版重新发行了这份独特的文件。

Hans Richter s Dada: Art and Anti-Art was a landmark publication. First published in English in 1965, it completely changed the interpretation of Dada from a literary phenomenon to an artistic one. Ever since, it has been the first port of call for anyone interested in the subject. As a member of the first Dada group in Zurich during the First World War, Richter was in a unique position to tell its history, and his book drew together not only important historical documents but the testimonies of friends, such as Marcel Duchamp, Max Ernst and Raoul Hausmann. The compelling nature of his narrative has continued to inspire artists and historians. To celebrate one hundred years of Dada, Thames & Hudson is reissuing this unique document exactly as it first appeared in an expanded centenary edition. This edition features a new introduction telling the story of how the book came about and an extended commentary that identifies Richter's sources and brings the study up to date for a new generation of readers. 

超现实主义是法国诗人André Breton于1924年发起的一场文学和艺术运动，到他1966年去世时，这场运动已经成为20世纪最受欢迎的艺术运动之一。作为“怪诞”的近义词，超现实主义这个名字已经成为日常使用的一个词。本书对这场运动中的关键人物、他们的作品和如何找到他们作了容易理解的介绍，带领读者踏上了一段穿越超现实主义历史的旅程。Art Essentials系列的这本新书包含一份关键术语和年标的词汇表，为有兴趣了解这一最具影响力的艺术现象的人提供了不可或缺的资源。

Surrealism was launched as a literary and artistic movement by French poet André Breton in 1924, and by the time of his death in 1966 had become one of the most popular art movements of the 20th century. Its very name has entered everyday usage as a synonym for bizarre. Taking the reader on a narrative journey through the history of Surrealism, this book is a digestible introduction to the movement’s key figures, their works and where to find them. Complete with a glossary of key terms and chronology, this new addition to the Art Essentials series provides an indispensable resource for anyone interested in learning about this most influential of art phenomena. 

未来主义以运动和机械为特色，1909年由菲利波·托马索·马里内蒂和画家吉亚科莫·巴拉、翁贝托·博乔尼该小组与附属画家，雕塑家，设计师，建筑师和作家一道，试图将尘土飞扬的建筑纳入一个新的时代，使其成为时尚、坚固、纯净的现代主义。未来主义在艺术史上的地位既矛盾又重要。该运动率先提出了传达运动、光线和速度的革命性方法，但在其对战争和法西斯主义政治的美化中引发了争议。他们疯狂的，几乎是暴怒的画布，体现了男子气概的侵略性，他们对笔触、纹理和颜色进行着激进的实验，以寻求记录一个物体通过空间的移动。本书以未来主义丰富的作品和重要的实践者为重点，介绍了这场对过去的所有主义进行抨击的运动，并以此创造了他们自己的主义。

With motion and machines as its most treasured tropes, Futurism was founded in 1909 by Filippo Tommaso Marinetti, along with painters Giacomo Balla, Umberto Boccioni, Carlo Carrà, and Gino Severini. With affiliate painters, sculptors, designers, architects, and writers, the group sought to subsume the dusty establishment into a new age of sleek, strong, purified modernity. Futurism’s place in art history is as ambivalent as it is important. The movement pioneered revolutionary methods to convey movement, light, and speed, but sparks controversy in its glorification of war and fascist politics. Their frenzied, almost furious, canvases, are as remarkable for their macho aggression as they are for their radical experimentation with brushstrokes, texture, and color in the quest to record an object moving through space. With key examples from the Futurists’ prolific output and leading practitioners, this book introduces the movement that spat vitriol at all -isms of the past and, in so doing, created an -ism of their own.