Eva Neurath, co-founder of Thames & Hudson, wrote this memoir for her granddaughters, and it is a private story of a remarkable 20th-century life. The youngest child of a principled and avant-garde mother and a Jewish father, she was born in Berlin and grew up there in the Twenties, in the world of Marlene Dietrich and Leni Riefenstahl, when anything was possible. Her wide knowledge of the fine arts was the result not of any formal education but of her work for art dealers, at a time when great collections were changing hands. Her mother for a time had a gallery for contemporary artists, and through other relatives she knew the world of music. But this was a world in the grip of traumatic change. Pursued by the Gestapo, Eva, her second husband Wilhelm Feuchtwang and their baby son Stephan left Berlin in1938, first for Rotterdam, then London. Wilhelm was interned in the Isle of Man, and Eva was at her wits end. Then came another change: she was visited with a message from her husband by Walter Neurath, an Austrian art historian and publisher who had come to England earlier and also been interned, but was soon released to continue his publishing of books for Adprint, where he had created the Britain in Pictures series. Offered a job by Walter, Eva grasped the opportunity to re-create herself in her own right as picture researcher, layout designer and art director. In 1949 they founded a new publishing house, Thames & Hudson, and married in 1953. Her life with Walter moved in circles of art, archaeology and history, among friends including Henry Moore, Harold Acton, John Julius Norwich and Roy Strong. The memoir ends in 1981, but Evas work continued until 1999, the year she died, and the story is filled out by her son, Stephan Feuchtwang.
In this brilliantly researched and insightful book, psychologist Eva Fogelman presents compelling stories of rescuers of Jews during the Holocaust--and offers a revealing analysis of their motivations. Based on her extensive experience as a therapist treating Jewish survivors of the Holocaust and those who helped them, Fogelman delves into the psychology of altruism, illuminating why these rescuers chose to act while others simply stood by. While analyzing motivations, Conscience And Courage tells the stories of such little-known individuals as Stefnaia Podgorska Burzminska, a Polish teenager who hid thirteen Jews in her home; Alexander Roslan, a dealer in the black market who kept uprooting his family to shelter three Jewish children in his care, as well as more heralded individuals such as Oskar Schindler, Raoul Wallenberg, and Miep Gies. Speaking to the same audience that flocked to Steven Spielberg's Academy Award-winning movie, Schindler's List, Conscience And Courage is the first book to go beyond the stories to answer the question: Why did they help?
Practically every major artistic figure of the mid-twentieth century spent some time at Black Mountain College: Harry Callahan, Merce Cunningham, Walter Gropius, Willem and Elaine de Kooning, Robert Motherwell, Robert Rauschenberg, Aaron Siskind, Cy Twombly - the list goes on and on. Yet scholars have tended to view these artists' time at the college as little more than prologue, a step on their way to greatness. With The Experimenters, Eva Diaz reveals the influence of Black Mountain College - and especially of three key instructors, Josef Albers, John Cage, and R. Buckminster Fuller - to be much greater than that. Diaz's focus is on experimentation. Albers, Cage, and Fuller, she shows, taught new models of art making that favored testing procedures rather than personal expression. The resulting projects not only reconfigured the relationships among chance, order, and design - they helped redefine what artistic practice was, and could be, for future generations. Offering a bold, compelling new angle on some of the most widely studied creative minds of the twentieth century, The Experimenters does nothing less than rewrite the story of art in the mid-twentieth century.
Eva Picardi has been one of the most influential Italian analytic philosophers of her generation. She taught for forty years at the University of Bologna, raising three generations of students. This collection of selected writings honors her work, confirming Picardi's status as one of the most important Frege scholars of her generation and a leading authority on the philosophy of Donald Davidson. Bringing together Picardi's contributions to the history of analytic philosophy, it includes her papers on major 20th-century figures such as Wittgenstein, Quine, Davidson, Rorty, and Brandom. She examines their work in comparison with the philosopher Michael Dummett's, illuminating contrasts between American Neo-pragmatism and Continental philosophy. By considering key contributions made by Gadamer and Adorno and contrasting them with Davidson and Rorty's proposals, Picardi is able to bridge the Analytic and Continental divide. Featuring an introduction by Annalisa Coliva and new translations of previously unpublished papers, this collection emphasizes the significance of Picardi's work for a new generation of readers.
This study provides an overview of philosophical questions relating to sight and vision. It discusses the intertwinement of seeing and ways of seeing against the background of an entirely different theoretical framework. Seeing is both a proven means of acquiring information and a personality-specific way of disclosing the apparent, perceptible world, conditioned by individual and cultural variations. In a peculiar way, the eye holds a middle position between inside and outside of the self and its relations towards itself and others. This book provides a way out of false alternatives by offering a third way with reference to concrete cases of aesthetical and ethical experiences. It will be of particular interest to scholars of the phenomenology and philosophy of perception and it will be valuable to students of philosophy, cultural studies and art.
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