Money changes everything, especially in politics. Politicians, think tanks, and political parties would not be where they are without monetary gifts. Yet, when it comes to celebrating donors, the media often praise liberals for their selfless giving and criticize conservatives for their selfish hoarding. But Ron Robinson and Nicole Hoplin, leaders of Young America's Foundation, set the record straight in Funding Fathers: The Unsung Heroes of the Conservative Movement. Part historical account of the conservative movement and part exposé about political philanthropy, Funding Fathers busts the myth that conservatives donate less money than democrats and exposes how the media, liberal organizations, and even conservatives perpetuate this lie.
A bold new history of modern conservatism that finds its origins in the populist right-wing politics of the 1990s Ronald Reagan has long been lionized for building a conservative coalition sustained by an optimistic vision of American exceptionalism, small government, and free markets. But as historian Nicole Hemmer reveals, the Reagan coalition was short-lived; it fell apart as soon as its charismatic leader left office. In the 1990s — a decade that has yet to be recognized as the breeding ground for today’s polarizing politics — changing demographics and the emergence of a new political-entertainment media fueled the rise of combative far-right politicians and pundits. These partisans, from Pat Buchanan and Newt Gingrich to Rush Limbaugh and Laura Ingraham, forged a new American right that emphasized anti-globalism, appeals to white resentment, and skepticism about democracy itself. Partisans is essential reading for anyone seeking to understand the crisis of American politics today.
The vibrant late paintings of Pierre Bonnard (1867-1947) are considered by many to be among his finest achievements. Working in a small converted bedroom of his villa in the south of France, Bonnard suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at hand-usually everyday scenes taken from his immediate surroundings, such as the dining room table being set for breakfast, or a jug of flowers perched on the mantelpiece - Bonnard rarely painted from life. Instead, he preferred to make pencil sketches in small diaries and then rely on these, along with his memory, once in the studio." "This volume, which accompanies the first exhibition to focus on the interior and related still-life imagery from the last decades of Bonnard's long career, presents more than seventy-five paintings, drawings, and works on paper, many of them rarely seen in public and in some cases, little known. Although Bonnard's legacy may be removed from the succession of trends that today we consider the foundation of modernism, his contribution to French art in the early decades of the twentieth century is far more profound than history has generally acknowledged. In their insightful essays and catalogue entries the authors bring fresh critical perspectives to the ongoing reappraisal of Bonnard's reputation and to his place within the narrative of twentieth-century art."--Jacket
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