Before Hungary’s transition from communism to democracy, local dissidents and like-minded intellectuals, activists, and academics from the West influenced each other and inspired the fight for human rights and civil liberties in Eastern Europe. Hungarian dissidents provided Westerners with a new purpose and legitimized their public interventions in a bipolar world order. The Making of Dissidents demonstrates how Hungary’s Western friends shaped public perceptions and institutionalized their advocacy long before the peaceful revolutions of 1989. But liberalism failed to take root in Hungary, and Victoria Harms explores how many former dissidents retreated and Westerners shifted their attention elsewhere during the 1990s, paving the way for nationalism and democratic backsliding.

This catalogue, the fi rst of its kind in the UK, accompanying the 2024 exhibition at Dulwich Picture Gallery, explores the important contribution to Japanese woodblock printing of the Yoshida family, from patriarch Hiroshi down to the current generation, led by Yoshida Ayomi. The story of the Yoshida family has been woven into the story of Japanese printmaking across two centuries, with each generation infusing this traditional art form with their sensitivity and imagination. Trained as a painter and watercolourist, Yoshida Hiroshi (1876–1950) was a pioneer of the shin hanga artistic movement, which revived the traditional ukiyo-e prints (‘pictures of the floating world’) focusing on beautiful landscapes and landmarks and combined them with Western influences. His incredible corpus of woodblock prints, inspired by his travels across Japan but also in Europe, Southeast Asia, Africa and North America, greatly contributed to the popularity of Japanese prints in the West. A rare instance in the early twentieth-century Japanese art world, the Yoshida legacy relies also on the important contribution of its women: first Fujio (1887–1987), Hiroshi’s wife, a watercolourist, painter and printmaker, who was the first Japanese woman artist to gain international acclaim. Her style developed over time from naturalism towards greater stylization and organic abstraction, with her late still lifes strikingly balancing boldness and sensuality. Toshi (1911–1995) and Hodaka (1926–1995), Hiroshi and Fujio’s sons, represent the second generation of this artistic dynasty; Toshi introduced post-war abstraction to the Japanese printmaking process, while Hodaka pushed these modernist instances further, achieving a unique personal style inspired by the sosaku hanga movement of artistic self-expression. His wife Chizuko (1924–2017) co-founded the first group of female printmakers in Japan, the Women’s Print Association. Her works sapiently connect popular art movements like Abstract Expressionism with Japanese printmaking. The youngest member of the Yoshida family is Ayomi (b. 1958), daughter of Hodaka and Chizuko, whose practice bridges the gap between ukyio-e and contemporary art thanks also to the exploration of organic materials. She has been exhibited at major international institutions and will contribute an original installation to the Dulwich show.

Ray Atkins (b.1937) is one of the least well known major painters of his generation. He studied at Bromley College of Art in Kent before gaining a post graduate place at the Slade despite having failed the National Diploma in Design in 1961. His first teaching post was at Reading University in 1965 where he lived and recorded in paint the huge upheavals that the town was undergoing, leading to a one person exhibition at the Whitechapel Gallery, London in 1974.A teaching post at Falmouth Art School in 1974 led to a thirty four year stay in Cornwall where he painted the extraordinary landscape of the china clay country around St Austell with its collossal pits and mounds of micae.The desolation left over by the demise of the tin mining industry was also a major theme, The more intimate subjects of children, gardens, family life and inevitably the sea were also part of the oevre. The nineties also saw a long series of works on the theme of dance.To celebrate the uncelebrated was his dictum.Peter Davies follows Atkins’ journey from the dark but creative London period to the high spots in the eighties with a retrospective at the Royal West of England Academy and with work selected for the John Moores in Liverpool, a room at a Serpentine summer Show, and representation in shows at the Hayward gallery.The book also follows the tensions and problems arising from Atkins’ insistence on working direct from his subjects and places the artist’s career in the wider context of the twists and turns of events in the art world in the UK, Europe and beyond.In addition, David Stoker gives a personal account of his discovery of Atkins in France, leading to a growing friendship and a deep understanding and respect for the work.

The 499 letters in the fourteenth volume of The Correspondence of John Tyndall cover a number of particularly intense and acrimonious disputes. More notably, this volume spans the period of the composition, delivery, and furious reaction to Tyndall’s famous—or, more accurately, infamous—Belfast Address. This prestigious lecture, which he delivered as the newly inaugurated president of the British Association for the Advancement of Science, has long been heralded as one of the most momentous events of the nineteenth century. The letters in this volume provide a new, and unprecedentedly detailed, account of all aspects of the era-defining address. For Tyndall himself, it afforded a new level of prominence as a public intellectual, and he deployed his position to engage directly with some of the most contentious issues in Victorian society, especially the role of religion in relation to science. But Tyndall’s expertise was also required on more practical matters, and the letters in this volume document his extensive role in determining official government policy on urgent questions such as safety at sea and public health. Additionally, they chart a dramatic shift in his personal life, with his initial correspondence with Louisa Hamilton, with whom he had previously communicated only through her family, marking the point where their burgeoning friendship developed into a formal relationship.

Located approximately forty miles northwest of Philadelphia, the working-class borough of Pottstown does not immediately come to mind as an influential site of the Black Freedom Struggle. Yet this small town in Pennsylvania served as a significant hub of interracial civil rights activism with regional as well as national impact. In The Jim Crow North: The Struggle for Civil Rights in Pottstown, Pennsylvania, Matthew George Washington adds another interpretive perspective to historiography by using both the "freedom North" and the "long civil rights movement" theoretical models to frame the borough's unique history. Primary documents, including newspaper accounts, census records, oral histories, and correspondence present a vivid account of a rapidly changing town, from the dawn of its civil rights movement during World War II to the revitalization of its NAACP branch in the early 1950s and its activism throughout the 1960s. Placing special emphasis on the demographic nature of the movement, Washington explores how interracial collaboration among the working class made up the movement's critical base—and how, through it all, Black activists remained front and center.This critical examination of Pottstown illuminates the struggle for African American civil rights in one of the long-ignored urban spaces of the North, providing a rich and in-depth portrait of the Black Freedom Struggle of postwar America.

In the 19th century an African possession cult called zār arrived in Egypt and became hugely popular. Jewellery formed an integral part of this cult, and silver pendants with images of spirits started to appear in the early 20th century. And there is more: zār also used beaded jewellery as well as a wide range of other jewels. Currently, jewellery items with spirit images are sought-after collectors’ items, present in collections of both private collectors and museums. These collections also hold a wide variety of other pieces called ‘zār jewellery’, and many jewellery pieces labelled ‘zār’ are available online. But what is ‘zār jewellery’, exactly?With collectors, curators, historians and ethnographers in mind, Silver of the Possessed places jewellery of the Egyptian zār in its cultural and historical context. A catalogue of previously unpublished jewellery in private collections illustrates the changes in this jewellery over the course of nearly a century, while the book itself addresses Egyptian zār jewellery from multiple angles.First, it analyses how our current understanding of this jewellery has evolved through collecting and publishing. Examining its cultural background in African possession cults results in a new insight of the many roles jewellery played in zār, observing jewellery as a financial asset allows us to grasp its implications for household economy dynamics, while looking at jewellery in a diachronic perspective may even reveal changes in the ritual itself. Finally, this study explores its potential as an actual historic source: these jewellery items shed light on the world view of their wearers, and as such form an unexpected additional source for late 19th and early 20th century Egypt.

This beautifully illustrated and scholarly catalogue presents a selection of exceptional drawings from the Clement C. Moore Collection. It accompanies an exhibition at the Morgan Library & Museum. The drawings assembled by Clement C. (“Chips”) Moore constitute one of the preeminent private collections of Dutch drawing in America. The collection also includes works by Flemish, French, Italian and British artists, ranging from the sixteenth to the twentieth centuries. These works have long been intended to join the collections at the Morgan Library & Museum, and this exhibition – timed to coincide with the Morgan’s centennial celebrations – makes formal the promised gift. Accompanying the exhibition, this catalogue will demonstrate the breadth of the Moore Collection with a selection of around eighty works that highlight the principal themes of Dutch art, the various functions and techniques of Dutch drawings, and the connections between the Dutch and other European artistic traditions. Works by Hendrick Goltzius, Jacob de Gheyn, Jan Bruegel, Rembrandt van Rijn, Aelbert Cuyp, Jacob van Ruisdael, Peter Lely, Claude Lorrain, Thomas Gainsborough and John Constable are among those featured. The catalogue includes an introductory essay by Jane Turner and entries authored by an international team of specialists.

Un siècle de sang s'achève. Commencé avec la Guerre de Succession d’Espagne sous le règne d'un Louis XIV âgé, il s'achève par la guerre d’indépendance des États-Unis et celles des premières années de la Révolution. Désormais, on trouve à la tête de la France, un « triumvirat ». Tous, sauf Bonaparte, sont des hommes nouveaux qui n'ont pas trempé dans les combinaisons politiques du défunt Directoire. C’est sur eux que repose l’espoir d’un futur apaisé ; et plus particulièrement sur le premier d'entre eux, sur le PremierConsul Bonaparte. Bonaparte en 1800 a trente-et-un an. Il est novice en politique. Va-t-il réussir à ramener la confiance dans le pays ; à traiter d'égal à égal avec les puissances belligérantes ? Et l'extraordinaire victoire de Marengo sera-t-elle, enfin, annonciatrice, de la paix retrouvée? Dernier élément du tryptique consacré aux années de gloire du général Bonaparte, cet ouvrage de Lionel Marquis, abondamment illustré, relate les événements politiques et militaires survenus en cette année 1800, année cruciale qui marque la naissance d’un nouveau siècle.

Surprisingly little has been written about the important Battle of Seven Pines/Fair Oaks. The bloody two-day affair (May 31-June 1, 1862), fought on the doorstep of the Confederate capital, was the first major battle in the Eastern Theater since Bull Run/Manassas the previous summer. It left more than 11,000 casualties in its wake and the primary Southern army without its commander. The possession of Richmond hung in the balance. Victor Vignola’s A Mismanaged Affair: The Battle of Seven Pines / Fair Oaks, May 31-June 1, 1862 rectifies this gap in the literature. Maj. Gen. George B. McClellan marched his Army of the Potomac up the Virginia Peninsula during the spring weeks of 1862 before committing a near-fatal error by placing his inexperienced IV Corps at the tip of the spear south of the flood-prone Chickahominy River. Opposing McClellan at the head of the Virginia army was Gen. Joseph E. Johnston, who had fallen back without offering much in the way of opposition. When the opportunity to strike beckoned, Johnston crafted an overly complex attack plan to crush the exposed IV Corps. A series of bungled Confederate marches, piecemeal assaults, and a lack of assertive leadership doomed the Southern plan. One of the wounded late in the day on May 31 was Gen. Johnston, whose injury led to the appointment of Gen. Robert E. Lee to take his place - a decision that changed the course of the entire Civil War. Author Vignola based his study on a host of primary and archival sources, many of which have never been published. The result is a well-illustrated and mapped readable tactical and leadership account that will please the most discriminating reader. Sandwiched between Shiloh and The Seven Days’ Battles, the combat at Seven Pines (Fair Oaks) has been mostly forgotten or overlooked. Although tactically inconclusive, the ramifications were far-reaching in ways no one could have foreseen. And like Shiloh, Seven Pines (Fair Oaks) provided a clear warning that the war would be long and bloody.

Admiral Sir Victor Alfred Trumper “VAT” Smith AC KBE CB DSC MiD RAN is a towering figure in Australian naval circles;his extraordinary career spanning almost 50 years. As the first graduate of the Royal Australian Naval College to be promoted full admiral he was the founding father of the Australian Fleet Air Arm.Joining the navy in 1927 aged thirteen;Smith specialised in aviation. As the senior observer of a Royal Navy Swordfish squadron;he led the first mass torpedo strike against a major warship at sea;the daring attack on the battlecruiser Scharnhorst off Norway in 1940. Then;at Churchill’s insistence;he embarked the very first catapult fighter for convoy protection. His subsequent service in two-seat Fairey Fulmar fighters saw him twice shot down in the Mediterranean and escape the torpedoed HMS Ark Royal in 1941.Recalled to Australia to fly Walrus amphibians;Smith survived the August 1942 destruction of HMAS Canberra at the Battle of Savo Island. Returning to Europe he served in the escort carrier HMS Tracker in the Atlantic and Arctic before participating in the Normandy landings.Postwar he was closely involved in the Australian decision to develop a carrier-based Fleet Air Arm and was executive officer of the carrier HMAS Sydney in the Korean War. Command of frigates;an air station and the carrier HMS Melbourne followed. As Chief of Naval Staff;he dispatched forces to the war in Vietnam before serving as chairman of the tri-service Chiefs of Staff in the 1970s.The author;Graeme Lunn;also a RANC graduate and aviator;began his naval career when Smith was still serving.

Belleroche was an integral part of the Parisian art scene during the Belle Époque - he was a close friend of the artist John Singer Sargent with whom he shared studios in Paris and London; he was admired and collected by luminaires such as Degas and Renoir - anbdchampioned by the art critic Roger Marx. With Toulouse-Lautrec he shared the celebrated model Lily Grenier. And it is even said that Oscar Wilde's Picture of Dorian Gray was inspired by Belleroche. Belleroche was considered by his contemporaries to be an innovator. In the art of lithography he developed techniques that built on the experiments of Degas and other Impressionist, (with whom he shared a fascination for monotypes). Despite all these fascinating facets of his life and art, his story remains largely unknown.

Cet ouvrage, en deux tomes, permet de présenter les armes et armures du Moyen-Âge à la Renaissance. Le premier tome aborde la première période, du VIe au XIIe siècle ; le second couvre ensuite les périodes du XIIIe au XVIe siècle. L'auteur et les éditions Heimdal se sont associés pour traiter un thème classique, mais rarement concerné ces dernières années par des publications en langue française. Ces deux tomes sont issus d'une réflexion partagée, en renouvelant certaines théories à propos de la culture matérielle, et en tirant le meilleur des recherches archéologiques et historiques de ces dernières années. Le livre profite également de photos de haute qualité, réalisées lors d'études ou de collaborations avec des institutions qui les conservent, en illustrant des objets rarement publiés. S'aidant de l'expertises de collègues et de confrères, l'auteur a réuni des contributions issues des activités de la recherche la plus récente, l'ouvrage est donc aussi le reflet d'une communauté d'historiens et de chercheurs au sujet des armes et armures. Richement illustré d'iconographies, mais aussi de croquis et de dessins, les pages de l'ouvrage profitent de magnifiques photos de troupes de reconstitution les plus récentes. On y trouve également des témoignages des activités des artisans les plus impliqués dans l'étude expérimentale des méthodes de production des armes et armures anciennes, et des arts des forgerons du Moyen-Âge, qui restent parfois encore des énigmes à nos yeux. Cet ouvrage ouvre une nouvelle fenêtre sur ces savoirs et ces mondes anciens.

Cet ouvrage, en deux tomes, permet de présenter les armes et armures du Moyen-Âge à la Renaissance. Le premier tome aborde la première période, du VIe au XIIe siècle ; le second couvre ensuite les périodes du XIIIe au XVIe siècle. L'auteur et les éditions Heimdal se sont associés pour traiter un thème classique, mais rarement concerné ces dernières années par des publications en langue française. Ces deux tomes sont issus d'une réflexion partagée, en renouvelant certaines théories à propos de la culture matérielle, et en tirant le meilleur des recherches archéologiques et historiques de ces dernières années. Le livre profite également de photos de haute qualité, réalisées lors d'études ou de collaborations avec des institutions qui les conservent, en illustrant des objets rarement publiés. S'aidant de l'expertises de collègues et de confrères, l'auteur a réuni des contributions issues des activités de la recherche la plus récente, l'ouvrage est donc aussi le reflet d'une communauté d'historiens et de chercheurs au sujet des armes et armures. Richement illustré d'iconographies, mais aussi de croquis et de dessins, les pages de l'ouvrage profitent de magnifiques photos de troupes de reconstitution les plus récentes. On y trouve également des témoignages des activités des artisans les plus impliqués dans l'étude expérimentale des méthodes de production des armes et armures anciennes, et des arts des forgerons du Moyen-Âge, qui restent parfois encore des énigmes à nos yeux. Cet ouvrage ouvre une nouvelle fenêtre sur ces savoirs et ces mondes anciens.

Battling time, tide and the weather, Big Dream, Little Boat is a compelling account of one man’s journey by kayak around the island of Ireland. Kevin O’Sullivan, an Aer Lingus pilot based in Skerries in north County Dublin, had set himself a mission – to circumnavigate the entire Irish coast – and to get home safely. The only problem was finding a way to do it. With a demanding job and family commitments he decides to break the journey into manageable three- and four-day chunks, leaving his kayak at stages along the way and resuming the adventure when the opportunity arose. Travelling mainly in the summer months, his expedition takes three years. Along the way he reflects on the fascinating marine life, colourful Irish history, lovely scenery, and in particular on the remarkable people he met on his journey. He also recounts the many challenges he faced, not least of which was his biggest difficulty – chronic seasickness! Despite an attempt to paddle only in good weather, Kevin still encountered some very difficult conditions. Unexpected winds and great swells left him digging deep, using all his skills and experience of years of kayaking to survive.In the great Irish tradition of taking care of travellers on the road, he was supported by oftentimes complete strangers who put him up in their homes, fed him and enthusiastically encouraged him along the way. On a journey of soul-searching and deep contemplation, the kindness of strangers helped to renew his faith in humanity.

This intimately researched work tells the story of the thousand-plus Depression-era civilian contractors who came to Wake Island, a remote Pacific atoll, in 1941 to build an air station for the U.S. Navy. Author Gilbert charts the contractors' hard-won progress as they scramble to build the naval base as well as runways for U.

The true story of German secret agents engaged in a campaign of subversion and terror in the United States before and during World War I.Many believe that World War I was only fought "over there," as the popular 1917 song goes, in the trenches and muddy battlefields of Northern France and Belgium—they are wrong.There was a secret war fought in America; on remote railway bridges and waterways linking the United States and Canada; aboard burning and exploding ships in the Atlantic Ocean; in the smoldering ruins of America's bombed and burned-out factories, munitions plants, and railway centers; and waged in carefully disguised clandestine workshops where improvised explosive devices and deadly toxins were designed and manufactured. It was irregular warfare on a scale that caught the United States woefully unprepared.This is the true story of German secret agents engaged in a campaign of subversion and terror on the American homeland before and during World War I.