The 1940s: The Arts: Publications

THE 1940s: THE ARTS: PUBLICATIONS

Alfred H. Barr, Jr., Fantastic Art, Dada, Surrealism (New York: Museum of Modern Art, 1947);

Barr, Picasso: Fifty Years of His Art (New York: Museum of Modern Art, 1946);

Saul Bellow, Dangling Man (New York: Vanguard, 1944);

Alice Browning, Lionel Hampton's Swing Book (Chicago: Negro Story Press, 1946);

E. E. Cummings, 50 Poems (New York: Grosset & Dunlap, 1940);

T. S. Eliot, Four Quartets (New York: Harcourt Brace, 1943);

William Faulkner, Go Down, Moses (New York: Random House, 1942);

Henri Focillon, The Life of Forms in Art (New York: Wittenborn, Schultz, 1948);

Lloyd Frankenberg, Pleasure Dome: On Reading Modern Poetry (Boston: Houghton Mifflin, 1949);

Robert Frost, A Witness Tree (New York: Holt, 1942);

Naum Gabo, A Retrospective View of Constructive Art (New York: Philosophical Library, 1949);

Clement Greenberg, Joan Miro (New York: Quadrangle Press, 1948);

Peggy Guggenheim, Out of This Century: Informal Memoirs (New York: Dial, 1946);

John Hawkes, The Cannibal (New York: New Directions, 1949);

Ernest Hemingway, For Whom the Bell Tolls (New York: Scribners, 1940);

Charles F. Hoban, Movies That Teach (New York: Dryden Press, 1946);

Leon Howard, The Connecticut Wits (Chicago: University of Chicago Press, 1943);

Margaret Lloyd, The Borzoi Book of Modern Dance (Princeton, N.J.: Princeton Book, 1949). Robert Lowell, Land of Unlikeness (Cummington, Mass.: The Cummington Press, 1944);

Lowell, Lord Weary's Castle (New York: Harcourt Brace, 1946);

Norman Mailer, The Naked and the Dead (New York: Rinehart, 1948);

F. O. Matthiessen, American Renaissance: Art and Expression in the Age of Emerson and Whitman (New York: Oxford University Press, 1941);

Carson McCullers, The Heart is a Lonely Hunter (Boston: Houghton Mifflin, 1940);

Milton Mezzrow and Raymond Wolfe, Really the Blues (New York: Random House, 1946);

Raymond Moley, The Hays Office (Indianapolis & New York: Bobbs-Merrill, 1945);

Piet Mondrian, Plastic Art and Pure Plastic Art (New York: Wittenborn, Schultz, 1945);

Robert Motherwell, The Dada Painters and Poets: An Anthology (New York: Wittenborn, Schultz, 1951);

Movie Lot to Beach Head: The Motion Picture Goes to War and Prepares for the Future (Garden City, N.Y.: Doubleday, Doran, 1945);

Beaumont Newhall, The History of Photography from 1839 to the Present Day (New York: Museum of Modern Art, 1949);

W. V. O'Connor, Sense and Sensibility in Modern Poetry (Chicago: University of Chicago Press, 1948);

James A. Porter, Modern Negro Art (New York: Dryden Press, 1943);

Ezra Pound, Cantos LII-LXXI (Norfolk, Conn.: New Directions, 1940);

Pound, The Pisan Cantos (New York: New Directions, 1948);

Ernie Pyle, Last Chapter (New York: Holt, 1946);

John Crowe Ransom, The New Criticism (Norfolk, Conn.: New Directions, 1941);

Charles Seymour, Tradition and Experiment in Modern Sculpture (Washington, D.C.: American University Press, 1949);

John Steinbeck, Cannery Row (New York: Viking Press, 1946);

Allen Tate, Reason in Madness: Critical Essays (New York: Putnam, 1941);

W. R. Valentiner, Origins of Modern Sculpture (New York: Wittenborn, Schultz, 1946);

Robert Penn Warren, All the Kings Men (New York: Harcourt Brace, 1946);

Warren, Eleven Poems on the Same Theme (Norfolk, Conn.: New Directions, 1942);

Edward Weston, Fifty Photographs: Edward Weston (New York: Duell, Sloan & Pearce, 1947);

Richard Wright, Native Son (New York: Harper Bros., 1940);

Darryl F. Zanuck, Tunis Expedition (New York: Random House, 1943);

American Artist, periodical;

American Cinematographer, periodical;

ARTnews, periodical;

Billboard, periodical;

Down Beat, periodical;

Georgia Review, periodical;

Harper's, periodical;

Hollywood Reporter, periodical;

Hudson Review, periodical;

Jazz Review, periodical;

Metronome, periodical;

Motion Picture Herald, periodical;

Partisan Review, periodical;

Poetry, periodical;

Sewanee Review, periodical;

U.S. Camera, periodical;

Variety, periodical.