recounted in Camilla Gray,

The Russian Experiment in Art 1863-1922,

rev. edn. (London: Thames and Hudson, 1986). See also Igor Golomstock,

Totalitarian Art in the Soviet Union, the Third Reich, Fascist Italy and the People’s Republic of China,

tr. Robert Chandler (London: Collins Harvill, 1991), chapters 1 to 3. For an account of popular culture and of modernist responses to it, see Noel Carroll,

A Philosophy of Mass Art (Oxford: Oxford University Press, 1998). An interesting account of the failure of modernism to sustain a consistently socialist development is to be found in T. J. Clark’s

Farewell to an Idea: Episodes from a History of Modernism (New Haven and London: Yale University Press, 1999). A pioneering study of female social groupings is to be found in Georgina Taylor,

H. D. and the Public Sphere of Modernist Women Writers 1913-1946 (Oxford: Oxford University Press, 2001). On the continuing tradition and importance of realist art in all periods, cf. Brendan Prendeville,

Realism in Twentieth Century Painting (London: Thames and Hudson, 2000).

Also of interest are David Peter Corbett,

نامعلوم صفحہ