Book Description
Peggy Guggenheim emerges in Mistress of Modernism as the ultimate self-invented woman, a cultural mover and shaker who broke away from her poor-little-rich-girl origins to shape a life for herself as the enfant terrible of the art world. Peggy's visionary Art of This Century gallery in New York, which brought together the European surrealist artists with the American abstract expressionists, was an epoch-shaking "happening" at the center of its time. Dearborn's unprecedented access to the Guggenheim family, friends, and papers contributes rich insight to Peggy's traumatic childhood in German-Jewish "Our Crowd" New York, her self-education in the ways of art and artists, her caustic battles with other art-collecting Guggenheims, and her legendary sexual appetites: her lovers included Max Ernst, Samuel Beckett, and Marcel Duchamp, to name a mere few. Here too is a poignant portrait of Peggy's last years as l'ultima dogaressa -- the last duchess -- in her palazzo in Venice, where her collection still draws thousands of visitors every year. Mistress of Modernism is the first definitive biography of a woman whose wit, passion, and provocative legacy come compellingly to life.
Customer Reviews:
Excellent writing and research........2006-10-16
I became interested in reading about Peggy Guggenheim when I visited her museum in Venice last spring. It was one of the highlights of my trip.
Mary Dearborn did an excellent job. However, I found Peggy Guggenheim's life pathetic. She was a completely selfish person and an unimaginably awful mother. My heart went out to her children. Her childhood was not ideal, but certainly not so bad that she couldn't avoid winning the worst semi-wealthy mother of the century.
The author gets 4 stars. Peggy Guggenheim gets minus 10,000 stars.
A Well Written Story of a Fascinating Person.......2006-06-30
Peggy Guggenheim brought abstract expression to the forefront of the art world. Behind the scenes, Guggenheim led a torrid, Bohemian existence, unrestrained by middle class conventions. Mary V. Dearborn captures the essense of of Peggy against the back drop of the art she helped to promote.
Well written, easily readable, and thoroughly researched. Mistress of Modernism: The Life of Peggy Guggenheim is a must read for anyone who loves art, or just loves to read a good biography.
Wealth sanitizes trashy behavior.......2004-11-27
I had eagerly awaited this book because I had been disappointed in Guggenheim's own CONFESSIONS OF AN ART ADDICT. I wanted a book that didn't skip over some obvious issues, like the reasons for the multiple marriages and a daughter's suicide. I was not disappointed in Mary V. Dearborn's MISTRESS OF MODERNISM. Dearborn delivers a warts-and-all biography that is nonetheless sympathetic, and extremely readable. I read this book quickly even though I put it down often to think about the implications of what I had just read.
Can one have too much money? As I read this book I wondered if Peggy might have been happier if she had had to work for a living. As Dearborn points out, Peggy was a "poor" Guggenheim whose fortune was only a fraction of her Uncle Sol's. The bohemian crowd that Peggy wanted to be a part of assumed that Peggy's fortune was far larger than it actually was. As a result, she had the reputation of being a cheapskate even though she supported a handful of people she was not even related to until they died. (This list would include Djuna Barnes, ex-husbands and ex-husbands' previous wives and widows, etc.) She also subsidized a lot of other people at various times on a temporary basis. The people in this milieu seem to have had extremely poor parenting skills. Peggy and her sisters spent their childhood virtually segregated from adults. Could that be why she and her surviving sister were such poor mothers? Peggy's son grew up to be an ambitionless playboy and her daughter Pegeen committed suicide. Peggy's sister murdered her own two small sons by pitching them off a balcony. She got away with it. Peggy, her sister and her daughter were promiscuous and seemingly had voracious sexual appetites. What set them apart from their peers was that Peggy and Pegeen were open about their affairs. Peggy practically advertised hers with the publication of her autobiography OUT OF THIS CENTURY and scandalized New York society. (This book explains that CONFESSIONS OF AN ART ADDICT is an extremely expurgated and revised version of OUT OF THIS CENTURY that Peggy put together years later. It deals only with Guggenheim's career as a collector. I would now love to get my hands on the original OUT OF THIS CENTURY!) Yet, through it all Peggy seems to have had very little self esteem. The men she was involved with were often physically abusive. There was a streak of masochism in her. (Was this a generational attitude? Peggy's friend Emily (whom she supported) admitted in her diary that she herself enjoyed being beaten.) I came away with the impression that Peggy was basically a bland person who just wanted to be loved. She never knew whether she was really loved or whether people just loved her money.
This book is very well written and presents brief, vivid minibiographies of virtually the entire dramatis personae. It has made me curious to see the work of the artists that Peggy promoted. This book tells an important part of the story of American art in the 20th Century. Those with an interest in this subject will want to read this book as soon as possible. I would especially recommend MISTRESS OF MODERNISM to anyone who has visited Peggy's museum in Venice or who is planning to visit there.
The Artful Biography.......2004-11-01
I didn't realize when I picked this up that I'd be reading about Nazi interrogations, the anarchist Emma Goldman, rescuing Jewish artists from Vichy France, and cultural politics during the Cold War. Quite a life.
There are two really illuminating things about this book: First, it provides a great travelogue of the avant-garde cultural scene in the 1920s and 1930s, which Peggy seemed to be acquainted with every crack and corner of; second, it gives a first-hand view of how that scene was distilled into the post-war art world of New York. Peggy had a crucial role in creating the love-it-or-hate-it art business we know today - in fact, by the mid-50s it had got a bit too rich even for her!
I have to say I didn't know much about Peggy Guggenheim before I read this book. I learned a lot about her and about the constellation of artists she patronized, encouraged, and helped raise to prominence. There's plenty of good gossip here, about Max Ernst (her second husband), Samuel Beckett (who she had a torrid affair with), Yves Tanguey, etc., but also some splendid cultural history. The appendix is almost worth the price of admission: Even by the standards of the time, I think, Peggy was paying pocket money for some of the 20th century's greatest works of art! Dearborn reprints some of the records from Peggy's gallery, and it's enough to make you drool!
It's possible to argue that Peggy was just in the right place at the right time, but Dearborn makes a good argument that she was a lot more than that. Very interesting and liberated woman who was misunderstood a lot in her time and even after her death, but who changed art history.
great social history and biography.......2004-10-22
I have read Mary Dearborn's books on Henry Miller and Norman Mailer. I was impressed with the scope of her research, her analysis of her subjects' psyches, and her ability to place her subjects in the popular and high culture of their times. Mistress of Modernism is this kind of work. Jackson Pollack's critics, Emma Goldman's friendship, Laurence Vail's superficially affable responses to life, Djuna Barnes' literary contacts, Peggy in Paris, and Peggy in Venice are all treated in this way. In choosing Peggy Guggenheim as a subject, Dearborn knew that a story with many dramatic moments was possible. She tells it in a way that is not only entertaining and surprizing, but in a way that truly memorializes her subject.
Book Description
Following the disastrous Russian campaign of 1812, Napoleon found himself facing a new coalition of his old enemies. With incredible speed he raised an army of 200,000 men and marched to join the remnants of the old Grande Armee in Germany. However, he no longer faced the brittle enemies of 1805 and 1806 and at Lützen on 2 May the inexperience of his new army began to show. Faulty reconnaissance by raw cavalry allowed Ney’s Corps to be surprised by Wittgenstein’s Russians. This book describes the last realistic chance Napoleon had to regain his empire by defeating the allies in Germany before Austria stirred and the tide turned even more against him.
Customer Reviews:
Good Book.......2007-06-13
Not much of a review really but a good read with good ilistrations
A well organized analysis.......2002-01-31
This is the second Campaign Series book I've read by this author and found it to be very engaging. Mr. Hofschrorer does a good job of outlining the herculenean task Napolean faced in rebuilding the Grand Armee after 1812. He effectively drives home the point of the Emporer's dwindling resources (manpower, horses, etc) and the level of depandancy France had on their conscripts.
There's a great deal that when on over the course of this campaign and I found it helpful the way the author summarized the events after he provided the detail and then added some analysis to help the reader understand the impact of these events.
Another important point that was made clear was the impact of the Allied indecision / squabbling, as well as the poor decision making by both Napolean and his Marshalls. Too often there is a tendancy to cannonize one group and scape goat the other; it was nice to see both parties treated as fallable human beings.
This book is an enjoyable and informative read and sets the stage nicely for the authors's Leipzig book.
'Wrecked Guns and Wounded Prisoners'.......2001-08-22
The Battles of Lutzen and Bautzen were the baptism of fire for Napoleon's newly raised army of 1813, which replaced the wreck of the Grande Armee of 1812, lost in Russia. It was built around it's survivors, those tough, indomitable fighting men the Emperor termed his 'men of bronze' which nothing, man nor nature, could overcome. The campaign was also the initiation of the 'new and improved' Prussian army that had been carefully nurtured and trained after the disaster of 1806, where the old Prussian army was destroyed by Napoleon and the Grande Armee 'In three weeks of unrelenting maneuver, battle, and marching.'
Epic tales deserve epic retelling. Unfortunately, this isn't it. Instead of the balanced, well-researched, and well-written account I was expecting, I found a biased, jingoistic, and, in my opinion, inaccurate and blindy pro-Prussian account of this campaign.
There are three areas where this work fails. First, the text is peppered with errors regarding Napoleon and the Grande Armee. Second, there are several thumping errors which resurrect old myths that have already been effectively countered by first-hand evidence and other, more careful historians who are recognized authorities in their field. Third, and most disturbing, the volume presents a theory of pan-Germanic unity that did not exist in 1813 and that didn't become a reality until 1870. What is effectively left out is the major contribution of Napoleon's German allies, most notably Wurttember, Baden, and Hesse-Darmstadt, to the campaign.
The following minor errors are both puzzling and noteworthy: French conscripts are called 'Marie-Louise's', a nickname that was applied in 1814, not 1813; French heavy cavalry is listed as cuirassiers and dragoons, but neglects the carabiniers; two calibers are given for the French artillery, but three are listed; Old and Young Guard infantry are mentioned, omitting the Middle Guard, appropriate for 1815, not 1813; a French aide-de-camp is called an adjutant, proper in German, not in French-in the Grande Armee an adjutant was a senior NCO, not an officer. Most importantly, the decisive French artillery assault at Lutzen, led by Druout and which gutted the allied center, is conspicuously omitted from the text.
The old spectre of Napoleon being jealous of his subordinates and not giving them their just due is raised again in this volume. The author states that Napoleon 'did little to encourage initiative among his subordinates lest a rival should emerge', that he 'needed to be seen as the sole victor in his battles', and that he 'could not allow his subordinates to play too big a role in achieving the victories.' This is contradicted by both Ferdinand von Funck and Ernst Odeleben, Saxon officers attached to the Grande Armee, noted as impartial and insightful observers. Von Funck remarked that 'Napoleon had the gift...of training commanders.' Historian John Elting remarked that Napoleon's generals aides-de-camp were trained in Napoleon's own methods of warfare, and there is myriad evidence in Napoleon's Correspondence which contradicts these statements. The old belief that Napoleon had a number of 'his veterans tied down in garrisons...in Central Europe' has been categorically disproven by John Elting, the authority on the Grande Armee. He states that most of the troops in those garrisons only became veterans during the respective sieges.
The old myth of the German 'War of Liberation' is also brought to the forefront again, when in fact liberation meant occupation and annexation by Prussia. Half of Saxony, with their king imprisoned by the allies, the Rhineland, and most of what had been Westphalia was ingested by the expansionist Prussians as a result of the wars. The contention that in 1813 'the population of Prussia was a seething mass of resentment with a strong desire to avenge the humiliations of 1806' is a bit overstated. Resentful they might have been, but comparatively few wanted to risk being shot at and force had to be used to enforce conscription in many places in Prussia. The soldier poet, Theodor Korner, an officer in Lutzow's Free Corps (later 'hunted down' and destroyed by Wurttemberg cavalry after violating the summer armistice) wrote an 'ode to Prussian draft-dodgers', 'Fie on thee boy, disguised with curls...'
There is reference to French looting and pillage, but, interestingly, none about the Prussian adventures in this area. Blucher, the Prussian commander, 'rather regarded looting-except in Prussia-with approval', and the Prussians gained a reputation 'for misbehavior and brutality.' A good summation of the Prussians, which would have enlighening for this volume, greatly ading to its credibility as a reference, is given by John Elting in Napoleonic Uniforms, Volume IV: 'Prussia was a predatory nation, eager to seize territory on any pretext or opportunity. Its soldiers were tough fighters, capable-if well led-of great exertions, tautly drilled and discip;ined. They were also arrogant in victory, remorseless looters and brutal in their plundering. In 1815 Belgians complained that the Prussians billeted on them were worse than Cossacks.' There are usually two sides to a story.
Finally, allied casualties are understated by a factor of two. The theory that these two allied defeats were the turning point of the campaign, the theme of the book, is ludicrous. Nothing new is covered here, and what is covered is neither thorough nor balanced. This volume, in my opinion, is unreliable as a reference. George Nafziger's Lutzen and Bautzen, a much better book, is recommended instead. This effort can only be summed up as an opportunity lost; and opportunity lost is opportunity gone forever.
A Biased, Germanic Re-interpretation of Napoleonic History.......2001-05-20
Author Peter Hofschröer seems to be in business to prove that somehow, it was primarily through German force of arms that Napoleon's empire was brought down. This addition to the Osprey Campaign series, covering Napoleon's 1813 Spring campaign in lower Germany, is premised on the idea that Germany was somehow the key to everything. In his introduction, Hofschröer states that, "Napoleon needed the resources of Central Europe to sustain his dictatorship. His domination of Germany was of vital importance to the continuation of his dynasty." Right at the start of his account, Hofschröer demonstrates a fatal misconception - that Napoleon's power was based on territory rather than his army. Anyone with a fair understanding of Napoleon's empire should recognize the fallacy of this argument; Napoleon was strong as long as he had an effective army and as long as he had that tool, he could retake any ground temporarily lost. It would also be false to overstate the contributions of Napoleon's German allies in maintaining his power base.
This volume covers the period between the return of the defeated Grande Armée from Russia in January 1813 to the armistice in June 1813. During this period, Napoleon demonstrated amazing powers of recovery; despite suffering enormous losses in Russia, he was able to assemble a new, if poorly-trained army, to face the resurgent Prussians and Russians. This was a tremendous achievement, but gets only faint praise in this account. Napoleon then used this newly-assembled army to inflict two defeats on the Prussian-Russian forces at Lutzen and Bautzen. The defeated allies then asked for an armistice to regroup. Incredibly, the German-centric Hofschröer calls these two defeats "the turning point" because Napoleon failed to smash the allies completely. That's like calling Dunkirk a victory. It is ludicrous to call two consecutive defeats a turning point for one's cause. Granted, Napoleon's victories were not complete and he suffered heavy losses in both battles. Yet Napoleon had clearly demonstrated that he was not finished and that he was still quite deadly on the battlefield. Napoleon's plan for the Battle of Bautzen was excellent and only sloppy execution by Marshal Ney prevented another Austerlitz-style triumph. Hofschröer is clearly ignorant of the adage that wounded animals are the most dangerous of all.
Throughout this volume, the author demonstrates a very pedestrian style. Paragraphs are clogged with over-use of place names and names of commanders. Too much effort is spent telling the reader where various commanders marched, without saying much about what they did there. Surprisingly, there is no attempt to use primary sources to add detail to the battle accounts. Added to an opaque prose that is as clear as mud at times, is a complete breakdown of the normally excellent Osprey battle maps to graphically depict the action. First, there are far too few 2-D maps to support the overall campaign narrative; key phases such as the preliminaries to Lutzen and Ney's flank march at Bautzen cannot be adequately followed from the existing maps. Second, the 3-D "Bird's Eye View" maps are badly flawed in this volume, particularly the two covering Bautzen. Most of the villages mentioned in the text, such as Ney's objectives of Preititz and Hockirch, are not even depicted on these maps. Compare these two maps with other standard maps of the Battle of Bautzen and it is amazing how much detail was left out. Without proper maps, this account bogs down.
Nor is geographic information the only omission. The author mentions the siege and capitulation of several French-held fortresses in Poland and Germany, but he neglects to mention that many of the French troops were released on condition not to fight for six months. Hence many of these troops would be available for the fall campaign. The author minimizes the death of Marshal Bessières on 1 May and totally misses the death of General Duroc on 22 May. Both these men were close associates of Napoleon and Duroc's death in particular had a great effect on him. The events pre-ceding Lutzen are misinterpreted as well; Napoleon did in fact order Ney to put out reconnaissance, which the later neglected to execute. Hofschröer blames Napoleon as well as Ney for this error.
It is fair to say that the spring 1813 Campaign in Germany was indecisive and was not a turning point. That is why both sides desired a cease-fire, in order to build-up their forces. It is also unfair to suggest that German troops who fought against Napoleon (as opposed to the thousands of German troops from Bavaria, Saxony, Hesse-Cassel, and Württemberg who fought for him) made any greater contribution to his eventual defeat than the Austrians, British, Spanish and Russians who had fought him to a standstill. This volume, which is based upon German chauvinistic hype, obscures the true meaning of the Lutzen-Bautzen campaign; Napoleon was still the best battlefield commander in Europe, even if his tools were no longer up to his imperial visions.
Book Description
For coverage of the most important policy issues facing the United States--from disaster preparation to global warming, and avian flu to the death penalty--offer your students balanced and complete overviews of today's foremost policy controversies. The ideal reader to lay needed groundwork and spark lively classroom discussion, Issues for Debate in American Public Policy allows students to view an issue from all sides while giving them a window into how policy is actually made and implemented.
Customer Reviews:
great book!.......2006-12-05
This is a really thorough analysis of some really important public policy issues! Highly recommended!
Customer Reviews:
Compact but General Information.......2007-10-06
I purchased this textbook as a class requirement. Soon after I have read the text it is clear that the information is correct, but it is general knowledge. The book does not go into depth on many issues and often involves brief statistics on each political aspect. Overall, I would not purchase the text as anything for readings outside of a classroom setting, even then the textbook does not tell anything that any major news broadcaster would not.
Issues for Debate in American Public Policy Textbook.......2007-09-20
It arrived quickly, and I bought it at a fair price. Too bad I dropped the class and never used the book but couldn't return it because I took it out of the package...the return policy should be a little more open.
Average customer rating:
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Issues for Debate in American Public Policy: Selections from the Cq Researcher (Issues for Debate in American Public Policy)
Manufacturer: Congressional Quarterly Books
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ASIN: 156802598X |
Book Description
Now in a new edition, Issues for Debate in American Public Policy pulls together a wide range of articles from The CQ Researcher, one of the most respected sources for research on current issues. The CQ Researcher is hailed for its balanced accounts of issues on the public agenda, as CQ staff writers provide background as well as current analysis for each issue considered, and incorporate the voices of people in the thick of the policy process-people from lobbies, nonprofits, think tanks, academia, and government. Popular articles from the first edition have been retained, while new salient issues bring this collection thoroughly up to date.
Each article is framed by substantive questions to get students thinking critically, such as : will vouchers force public schools to improve? Has welfare reform helped reduce child poverty? Should the federal government spend more money to conserve open space? Also included is a yes/no feature that showcases an insider's view from two sides of the debate - an effective starting point for classroom discussion or further research. The selections address every level of government - federal, state, and local - and every branch of government, giving students a sense of how the policy process is affected by community, regional, and national concerns.
Book Description
To artist-writer-naturalist Hannah Hinchman, the blank pages of a journal are a call to awaken the soul, to celebrate being alive in the world, to get to know both the wilderness of our inmost selves and the "unpredictable and potent" natural world. In the richly illustrated pages of this book, she unfolds a myriad of wonders --the pattern of a bee abdomen, varieties of ice forms and sky colors, the joys of a garden --and shows us how to capture them on the page. Hinchman's respect for the miracle of our five senses, and her passion for what they can tell us about the world, is contagious. "Start with a smell, like a crushed marigold leaf, the sea, coal smoke," she advises, and from such raw materials begin to "decant the stuff of life" into journal form, "where it remains fresh, still tasting of its source." Even for one who has no intention of journal-keeping, to delve into Hinchman's own work is to see with new eyes. A Trail Through Leaves is a true gift and inspiration, a treasure-box of ways to write, draw, and be alive to the world.
Customer Reviews:
Beautiful introduction to visual diary-keeping.......2004-05-04
In my 15 years of keeping a diary, I spent the first 10 keeping a conventional written record of thoughts, ideas, and occurances. But about 5 years ago my diary keeping received a pleasant and unexpected jolt when I encountered Hannah Hinchman's 'A Trail Through Leaves: The Journal as a Path to Place'. This beautifully written and illustrated book on keeping a visual diary completely enlarged my ideas of what a diary could be: a visual record as well as a meditation on the material universe.
Overwrought.......2002-09-11
The author favors an elaborate, self-conscious type of writing. Put bluntly, her prose is frequently purple. The drawing and writing lack the spontaneity that would be expected in genuine journal excerpts. The overall artwork is quite poor--flat, tentative drawings and watercolor pieces with mushy brushwork that leave the images feeling overworked and without any sense of weight.
such potential....such bias.......2002-04-04
If you are a biologist or scientist who also does art, this book may be as offensive to you as it was to me. This person presents an approach to 'seeing' which she suggests is the only true way to see. She gives extensive examples of how blind biologists/scientists are to the world. Her pretention only uncovers her own ignorance. I had such high hopes for this book. I had hoped to improve my field sketching skills. The only information I got from this book was an updated list of supplies. No useful technique information. Quite a bit of quirky annoying dogma.
Beautiful and full of good ideas.......2002-03-20
Hinchman writes about her own experiences about journaling why she continues to write and draw in them. She breaks the book down into different parts of journaling at the end of each chapter she has a few pages of activities that you can use in your own journaling. But the book isn't preachy she talks about journaling from her point of view. What makes the book so beautiful is that it is filled with excerpts from her own journals over the years, both drawings and words. For me this book was especially good because it didn't tell you how to journal as if it was some set of instructions. Instead she, as in the title, led me down a trail.
Somewhat dissapointing.......2001-12-31
Having kept journals since I was a kid, I thought this book might help to renew my passion for the activity and inspire me to see new things. The premise of the book seemed perfect: the journal as a path to place. But be forewarned: this book is not a manual for how to explore the world around you or examine your life through journaling. It is a wordy autobiography of one woman and the techniques that work for her. The first chapter is nothing but an exhaustive summary of her own life and the journals she kept; the second rambles on and on about the differences in ball-point pens and small art brushes, all described through the experiences of the author: "I like the Bic much better than the heavy, pretentious Mont Blanc ballpoint pen that my friend found in the street. It's unbalanced, and the tip is stingy and stiff. But the Mont Blac fountain pen - there is a truely loveable tool."
Reading this book, I can't help but feel that it is a forged account of being true to oneself. Each illustration, supposedly taken from the author's journals, is picture-perfect and ready to be hung on the wall. Any written text that accompanies it is painstakingly neat and labored. There isn't a visual hint of imperfection anywhere, and it makes the book seem commercial and not very real.
This book does have several good points: it has some very good lessons on art technique and it does hold some very thought-provolking observations amidst the flowery language and self-absorbed babbling. But if you're like me and looking for a book to help you dive below the surface of perfectionistic drawings and whimsical, unobtrusive text, look elsewhere.
Books:
- Miyamoto Musashi: His Life and Writings
- Mother Teresa: A Complete Authorized Biography
- My Face Is Black Is True: Callie House and the Struggle for Ex-Slave Reparations
- My Grandfathers Blessings : Stories of Strength, Refuge, and Belonging
- My Traitor's Heart: A South African Exile Returns to Face His Country, His Tribe, and His Conscience
- Nuremberg Diary
- On the Ice: An Intimate Portrait of Life at McMurdo Station, Antarctica (World As Home, The)
- On the Warrior's Path: Philosophy, Fighting, and Martial Arts Mythology
- Once Upon a Time When We Were Colored
- Outrageous Acts and Everyday Rebellions: Second Edition (Owlet Book)
Books Index
Books Home
Recommended Books
- Here, There and Everywhere: My Life Recording the Music of the Beatles
- Haunted : A Novel of Stories
- Blowing My Cover: My Life as a CIA Spy
- Crime Novels: American Noir of the 1930s and 40s: The Postman Always Rings Twice / They Shoot Horses
- Big Bend National Park
- Chemical Principles: The Quest for Insight
- Emerson: The Mind on Fire
- Spirit Poles and Flying Pigs : Public Art and Cultural Democracy in American Communities
- Beauty and the Beast: The Coevolution of Plants and Animals
- Pathogenesis & Host Specificity in Plant Diseases, 3-Volume Set : Prokaryotes
Confessions Of an Art Addict
Art Lover: A Biography of Peggy Guggenheim
Peggy Guggenheim: A Collector's Album
The Guggenheims
Out of This Century: Confessions of an Art Addict
