Frans Masereel

Volume 10 of the Catalogue raisonné of the Orozco collection of artist and illustrated books as well as prints, dedicated to Francis Bacon, Giacometti, Henry Moore, Kandinsky, Marino Marini, Frans Masereel. It describes the pieces of the collection, the circumstances under which they were produced, references to the museums throughout the world that keep a copy of the piece described, the appropriate catalogue references, their passage through auction houses, etc. and photographs of the pieces.

celebrating the twentieth anniversary of the publication of will Eisner's A Contract with God and other Tenement stories (197s) it is appropriate to recognize the graphic novel and the historical threads to the wordless novels that were published in the 1930's. will Eisner indicates that the Belgian Frans Masereel, the German otto Niickel and the American Lynd ward were pioneers who "established an historical precedent for modern graphic storytelling." (Eisner, 1995:1) Examination of the theme of sexuality in works by these pioneers and Eisner's I contract with God display the evolution that these books share in bringing adult themes into the graphic novel market in the United States. Each book that Masereel referred to as "novels without words,, and that ward preferred to call "pictorial narratives" drew its theme from the social injustices of the time and reflected the rapidly growing appeal of pictures, not only in the newspapers but in the silent cinema. wordless novels were printed in black and white and published in book form. The close relationship between the silent films and wordless novels at frst glance seemed obvious. on closer examination, the inter-dependency of words, pictures, and music existed in fihn from the beginning. Except for a few experimental films, silent filrns were never silent. what wis appmint was that the narrative in a movie demanded little involvement on the pa.t or *re audience. The pictures in wordless novels, in contrast, encapsulated the essential frames of a silent movie and carried the total weight of the narrative.

Article about Belgian artist and printmaker Jacques Boonen (1911-1968) published on the occasion of Boonen's exhibition at Walden Gallery, Antwerp, Belgium (April 19 - May 12, 2018). The article, as well as the exhibition, attempt to contribute to a new discourse on this unique and lesser known figure in Belgian and European graphics of the interbellum era.

In this paper, I argue that interwar pacifists working in France presented an evolving narrative of what the First World War represented in order to maintain support for their movement and a continued peace in Europe. Utilizing posters, photographs, pamphlets, and art instillations created by pacifist organizations, I interject in ongoing debates over the First World War as a moment of rupture in art and pacifism in France, arguing that the moment of rupture occurred a decade after the conflict had ended with the failure of the Conference for the Reduction and Limitation of Armaments of 1932-1934 and the election of Hitler as the leader of a remilitarized Germany. Pacifist art of the 1920s saw a return to traditional motifs and styles of art that remembered the horrors of the past war. This return to tradition aimed to inspire adherence to the new pacifist organizations in the hopes of creating a new peace-filled world. The era of optimism and tradition ended with the economic and political crisis of the early 1930s, forcing pacifists to reconceptualize the images and styles of art that they utilized. Instead of relying on depictions of the horrors of the past war, these images shifted the focus to the mass civilian casualties future wars would bring in a desperate struggle to prevent the outbreak of another world war.