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Modern Miscellany, A: Shanghai Cartoon Artists, Shao Xunmei's Circle and the Travels of Jack Chen, 1926-1938
Published by Brill
In A Modern Miscellany Paul Bevan demonstrates that in the 1930s the Chinese cartoon was not only important in the sphere of Shanghai popular culture but that it occupied a central place in the primary discourse of Chinese modern art history.
In A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmei's Circle and the Travels of Jack Chen, 1926-1938 Paul Bevan explores how the cartoon (manhua) emerged from its place in the Chinese modern art world to become a propaganda tool in the hands of left-wing artists. The artists involved in what was largely a transcultural phenomenon were an eclectic group working in the areas of fashion and commercial art and design. The book demonstrates that during the build up to all-out war the cartoon was not only important in the sphere of Shanghai popular culture in the eyes of the publishers and readers of pictorial magazines but that it occupied a central place in the primary discourse of Chinese modern art history.
Acknowledgements Note on the Illustrations List of Illustrations Notes on Romanization and References Note on Sources Introduction A Modern Miscellany The Cartoon as Part of the Modern Art Scene in Shanghai The Manhuahui Part 1: The Beginnings of the Modern Chinese Cartoon Chapter 1: Manhua Artists in Shanghai Marc Chadourne and Paul Morand Vanity Fair Western Models of Art and Literature in Shanghai manhua English Decadence in Shanghai The Modern and the Decadent-The Cubist Shanghai Life, Lust, and Snake and Woman Conclusion Chapter 2: Shao Xunmei and his Circle Shao Xunmei and Pictorial Magazines Shao Xunmei and Salon Culture The Yunshang Fashion Company The Zhang Brothers-Designers A Depiction of Shao Xunmei by Wang Zimei A Letter to Emily Hahn Part 2: Adoption of Foreign Models in Art and Literature Chapter 3: Miguel Covarrubias Covarrubias Goes to China: 1930 Covarrubias Goes to China Again: 1933 Covarrubias's Illustrations to Chine (China) Chinese Artists and the Covarrubias Style Impossible Interviews Large-scale Group Caricatures Ding Cong and the Mexican Muralists The Legacy of Covarrubias Chapter 4: The Chinese Cartoonists and George Grosz The Art of George Grosz in Shanghai George Grosz and China Proponents of the Grosz-style A Foreigner's View of the Grosz Imitators Cai Ruohong: China's New Grosz ? The Chinese View of Grosz's Work Conclusion Part 3: The Dissemination of Chinese Political Art Chapter 5: Jack Chen in China Chen Arrives in Shanghai The Cartoons of Jack Chen in Shanghai Chen and Soviet Socialist Realism The Letters of Jack Chen From China to Moscow and London: The Beginnings of Chen's World Tour Anthony Blunt: A Champion of Chen's Cause Chapter 6: The First National Cartoon Exhibition A Suitable Venue: The Sun Company Building The Exhibition News in the Shanghai Press Jack Chen: The Only Foreign Exhibitor Portraiture: A Genre for Political Persuasion? The Paintings of Hua Lu: Lacking a Political Message? Surrealism: Modern Art and the Manhua Artists Cai Ruohong Remembers Foreigners on Manhua: Two Contrasting Views A Review by Jack Chen An Anonymous Critique Zhang Guangyu's Cover Design for Manhuajie Manhua: An Art for China's Future Chapter 7: Chinese Art and its Part in the Worldwide Fight against Fascism Hong Kong: First Port of Call Guangzhou: Caught in the Air Raids Chen is Sent to Europe and America Hu Kao: A Shanghai Cartoonist Hu Kao and Jack Chen go to Yan'an Hong Kong: Last Port of Call Epilogue Conclusion Bibliography Index
Paul Bevan, Ph.D (SOAS, 2013), has taught Chinese history and modern Chinese literature at SOAS and the University of Oxford. His wide-ranging research interests include the impact of Western art and literature on China during the Republican period and the study of inscriptions on eighteenth-century art objects.
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