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The artwork produced by Anne Dangar is breathtaking. The beautiful colour illustrations . . . record, and do full justice to, pottery and glazed tiles which rank amongst the most important of their type produced in the twentieth century. . . . Adams''s book reminds us of our own periodic need to return to our origins and collective myths, and in so doing gives one such heroic attempt, at the art colony of Moly-Sabata, the historical prominence it richly deserves. -- Vaughan Hart Utopian Studies

"""A very useful addition to the small but growing body of literature on this school that may, if I and a few other people are right, contain the seeds of an alternative future for painting.""--Peter Brooke ""Art Book"" ""Aside from twenty-four colour plates, the text is lavishly illustrrated with black and white photographs, mixing archival sources with exquisite prints. . . . The book does justice to the complexity of being an early twentieth-century Modernist convert, whose zeal was parallel to, and sometimes became quite literally, a religious experience.""--Ann Stephen ""Art Monthly Australia"" ""The artwork produced by Anne Dangar is breathtaking. The beautiful colour illustrations . . . record, and do full justice to, pottery and glazed tiles which rank amongst the most important of their type produced in the twentieth century. . . . Adams's book reminds us of our own periodic need to return to our origins and collective myths, and in so doing gives one such heroic attempt, at the art colony of Moly-Sabata, the historical prominence it richly deserves.""--Vaughan Hart ""Utopian Studies"" ""This book will make Dangar's beliefs and work more available to 20th-century art historians and to those interested in understanding the cultural cross-currents of industry and nature, precedent and revolution, and mechanization and handiwork that combine to influence various modern art forms.This is an important revelation of one woman's contribution to modernism."" -- ""Choice"" ""Adams skillfully creates a grid of the multiple strands of a story . . . With a cliffhanger at the end of each of its four parts, there is as much here for the reader interested in social history as in art history. Rustic Cubism is a gorgeously illustrated book . . .--The Age, Australia --Penny Webb ""The Age, Australia"" (2/9/2005 12:00:00 AM) ""In the depth of Adams's immersion in his subject and the unforced nature of his writing there is a moving, almost artisanal quality, an impression that is enhanced by the book's superior production values. . . . Rustic Cubism is truly revolutionary art history, quietly and undemonstratively reversing the prevailing assumptions of the past fifty years of Australian art-writing.""--Rex Butler ""Australian and New Zealand Journal of Art"" ""This handsome book feels like a resolution of Adams's fascination with Moly-Sabata. Susan Paull's photographs are never less than splendid. . . . Rustic Cubism is a model of a critical study that combines art history and social history.""--Penny Webb ""Australian Book Review"" ""It is against the backdrop of this sorry relationship that Bruce Adams has written his remarkable book. . . . Adams handles all these matters with patience and delicacy. When combined with the numerous images of Dangar's beautiful pottery, this scholarly yet approachable study amounts to the most complete account to this point of a remarkable figure . . .""--Bookforum--A. D. S. Donaldson ""Bookforum"" (6/1/2005 12:00:00 AM)"

A very useful addition to the small but growing body of literature on this school that may, if I and a few other people are right, contain the seeds of an alternative future for painting. --Peter Brooke Art Book Aside from twenty-four colour plates, the text is lavishly illustrrated with black and white photographs, mixing archival sources with exquisite prints. . . . The book does justice to the complexity of being an early twentieth-century Modernist convert, whose zeal was parallel to, and sometimes became quite literally, a religious experience. --Ann Stephen Art Monthly Australia The artwork produced by Anne Dangar is breathtaking. The beautiful colour illustrations . . . record, and do full justice to, pottery and glazed tiles which rank amongst the most important of their type produced in the twentieth century. . . . Adams's book reminds us of our own periodic need to return to our origins and collective myths, and in so doing gives one such heroic attempt, at the art colony of Moly-Sabata, the historical prominence it richly deserves. --Vaughan Hart Utopian Studies In the depth of Adams's immersion in his subject and the unforced nature of his writing there is a moving, almost artisanal quality, an impression that is enhanced by the book's superior production values. . . . Rustic Cubism is truly revolutionary art history, quietly and undemonstratively reversing the prevailing assumptions of the past fifty years of Australian art-writing. --Rex Butler Australian and New Zealand Journal of Art This book will make Dangar's beliefs and work more available to 20th-century art historians and to those interested in understanding the cultural cross-currents of industry and nature, precedent and revolution, and mechanization and handiwork that combine to influence various modern art forms.This is an important revelation of one woman's contribution to modernism. --Choice Adams skillfully creates a grid of the multiple strands of a story . . . With a cliffhanger at the end of each of its four parts, there is as much here for the reader interested in social history as in art history. Rustic Cubism is a gorgeously illustrated book . . .--The Age, Australia -- (02/09/2005) This handsome book feels like a resolution of Adams's fascination with Moly-Sabata. Susan Paull's photographs are never less than splendid. . . . Rustic Cubism is a model of a critical study that combines art history and social history. --Penny Webb Australian Book Review It is against the backdrop of this sorry relationship that Bruce Adams has written his remarkable book. . . . Adams handles all these matters with patience and delicacy. When combined with the numerous images of Dangar's beautiful pottery, this scholarly yet approachable study amounts to the most complete account to this point of a remarkable figure . . . --Bookforum-- (06/01/2005)

Author Information

Bruce Adams is an honorary associate of the Department of Art History and Theory at the University of Sydney. An art writer and curator, he has worked on exhibitions of modern and contemporary art that have traveled to such museums as the National Museum of Art, Osaka; Nagoya City Art Museum; Heide Park Art Gallery, Melbourne; and the Art Gallery of New South Wales, Sydney.

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