波普艺术在20世纪60年代达到顶峰，最初是对主流艺术和文化的反抗，后来演变成对现代社会、消费文化、艺术家的角色和艺术品构成的全盘质疑。

本文介绍了波普艺术在唯物主义、名人和媒体问题上的运用。从广告图像到漫画书，从好莱坞最著名的面孔到消费品包装，后者的缩影是安迪·沃霍尔的金宝汤罐头(Campbell’s soup cans)。波普艺术在挑战这种大众化、平庸和庸俗的形象的同时，也部署了大规模生产的方法，用丝网印刷等机械化技术降低了个体艺术家的角色。

以安迪·沃霍尔、艾伦·琼斯、埃德·拉斯查、罗伯特·印第安纳、贾斯珀·约翰斯、罗伯特·劳森伯格和罗伊·利希滕斯坦等艺术家为特色，这本书介绍了一个具有决定性的现代主义运动的全面影响和影响。

Peaking in the 1960s, Pop Art began as a revolt against mainstream approaches to art and culture and evolved into a wholesale interrogation of modern society, consumer culture, the role of the artist, and of what constituted an artwork. Focusing in on issues of materialism, celebrity, and media, Pop Art drew on mass-market sources, from advertising imagery to comic books, from Hollywood's most famous faces to the packaging of consumer products, the latter epitomized by Andy Warhol's Campbell's soup cans. As well as challenging the establishment with the elevation of such popular, banal, and kitschy images, Pop Art also deployed methods of mass-production, reducing the role of the singular artist with mechanized techniques such as screen printing. With featured artists including Andy Warhol, Allan Jones, Ed Ruscha, Robert Indiana, Jasper Johns, Robert Rauschenberg, and Roy Lichtenstein, this book introduces the full reach and influence of a defining modernist movement.

布劳·雷特（Blaue Reiter 1911-1914）运动的余波虽然只持续了三年的动荡，却对欧洲现代艺术的发展产生了巨大的影响。以康定斯基的一幅画《蓝色骑士》命名，这群松散的艺术家围绕着俄罗斯画家瓦西里·康定斯基（Wassily Kandinsky）和德国画家弗兰兹·马克（Franz Marc）展开创作，试图拒绝既定的标准，将自己带入一个未知的新艺术领域。

在一个快速工业化的时代，布劳·雷特的艺术家们表达了他们的精神价值观和关注点，他们对绘画、木刻和版画有着共同的兴趣，还有色彩的象征价值和对艺术作品的自发追求。关键作品如弗兰兹·马克的《蓝马一号》（1911年）、康定斯基的《黑色拱门》（1912年）和奥古斯特·麦克的《穿绿夹克的女人》（1913年），虽然揭示了不同的主题，但都充满了扭曲的视角、粗犷的线条以及对色彩的强调，充分体现了表现主义的运用。

一战爆发后，布劳·雷特的作品突然被截断，两位主要艺术家丧生，同时，该组织的主角之间的分歧也越来越大。这本书揭示了运动的显著影响，尽管它是简短的，但提出了关键的作品，艺术家及深远的回响。

Although it only lasted three turbulent years, the afterburn of the Blaue Reiter (1911–1914) movement exerted a tremendous influence on the development of modern European art. Named after a Kandinsky painting, The Blue Rider, this loose band of artists, grouped around Russian émigré Wassily Kandinsky and German painter Franz Marc, sought to reject establishment standards and charge into a new artistic unknown.

Articulating spiritual values and concerns in an era of rapid industrialization, the artists of the Blaue Reiter were connected by a shared interest in painting, woodcuts, and prints, as well as the symbolic values of color and spontaneous approaches to artwork. Key pieces such as Franz Marc’s Blue Horse I (1911), Kandinsky’s Picture with a Black Arch (1912), and August Macke’s Woman in a Green Jacket (1913) reveal varying subjects, but all channel distorted perspectives, crude lines, and an emphatic, expressionist use of color.

The Blaue Reiter was abruptly truncated by the onset of the First World War, which killed two of its leading artists, along with growing dissent between the group’s protagonists. This book reveals the movement’s remarkable influence despite its brevity, presenting key works, artists, and their reverberating effects.

Frank Whitford将包豪斯（Bauhaus）置于其社会历史背景下，追溯了这所学校理念背后的思想并描述了其教学方法。他研究了教师的活动，其中包括Paul Klee，Josef Albers和Wassily Kandinsky等杰出的艺术家，以及学生的日常生活。关于这场有可能是过去一百年来最重要的设计运动，本书一直是最通俗易懂且插图丰富的入门书。

Placing the Bauhaus into its socio-historic context, Frank Whitford traces the ideas behind the school s conception and describes its teaching methods. He examines the activities of the teachers, who included artists as eminent as Paul Klee, Josef Albers and Wassily Kandinsky, and the daily lives of the students. This remains the most accessible and highly illustrated introduction to perhaps the most significant design movement of the last hundred years.

从1902年的第14届维也纳脱离派展览到20世纪20年代的构成主义的发展，奥地利、匈牙利的艺术品经历了一场革命性的变化，挑战了先入为主的陈规，打破了欧洲艺术的规则。 

在这段时间内追溯艺术的演变，这本书将看似不同的维也纳、布拉格立体主义和匈牙利构成主义之间建立了有价值的联系。着重于艺术家的作品，如Josef Hoffmann，Gustav Klimt，Josef Capek，Koloman Moser，Egon Schiele，Frantis k Kupka，Lajos Kassa k和La szlo Moholy- Nagy，并从最新的学术研究，重新诠释世纪之交的艺术。 

From the 14th Vienna Secession exhibition in 1902 to the development of Constructivism in the 1920s, art in Austria- Hungary underwent a seismic change that challenged preconceptions, and broke the rules to shake up European Art. Tracing the evolution of art during this time period, this book makes valuable connections between the seemingly disparate Formkunst of Vienna, Cubism in Prague, and Hungarian Constructivism. Focusing on the works of artists such as Josef Hoffmann, Gustav Klimt, Josef Capek, Koloman Moser, Egon Schiele, Frantis k Kupka, Lajos Kassa k, and La szlo Moholy- Nagy, and drawing from the latest scholarly research, this book presents a fundamental reinterpretation of turn-of-the-century art as it flourished in the Habsburg Empire. 

这本书大胆地叙述了20世纪上半叶美洲艺术现代化的方式。爱德华·沙利文没有把现代化看作是一个从一种“主义”到另一种“主义”的稳步发展过程，而是采用了一种比较的方法，他从北美、加勒比、中美洲和南美洲选取了一些例子。

通过在这个半球的意义上考虑美洲，他能够梳理出许多艺术故事，关注不同地区的艺术家如何适应和尝试视觉表达，以及如何吸收跨国家和国际的影响。他展示了这种丰富的多样性是如何在各种形式的抽象艺术中变得明显，这些抽象艺术出现在整个美洲，并反过来对整个世界的艺术产生了影响。

This book presents an audacious account of the ways in which the arts in the Americas were modernized during the first half of the 20th century. Rather than viewing modernization as a steady progression from one "ism" to another, Edward Sullivan adopts a comparative approach, drawing his examples from North America, the Caribbean, Central, and South America. 

By considering the Americas in this hemispheric sense he is able to tease out many stories of art and focus on the ways in which artists from different regions not only adapted and experimented with visual expression, but also absorbed trans-national as well as international influences. He shows how this rich diversity is most evident in the various forms of abstract art that emerged throughout the Americas and which in turn had an impact on art throughout the world.