A modern miscellany : : Shanghai cartoon artists, Shao Xunmei's circle and the travels of Jack Chen, 1926-1938 / / by Paul Bevan.

• Superior document: Ideas, History, and Modern China, Volume 12
• VerfasserIn: Bevan, Paul, Ph. D.,
• Place / Publishing House: Leiden, Netherlands ;, Boston, [Massachusetts] : : Brill,, 2016.; ©2016
• Year of Publication: 2016
• Language: English
• Series: Ideas, history, and modern China ; Volume 12.
• Physical Description: 1 online resource (407 p.)
• Notes: Outgrowth of the author's thesis (Ph. D.--University of London, School of Oriental and African Studies, 2012) under title: Manhua artists in Shanghai 1926-1938 : from art-for-art's-sake to wartime propaganda.
• Other title: Front Matter --; Copyright Page --; Acknowledgements --; Note on the Illustrations --; List of Illustrations --; Notes on Romanization and References --; Note on Sources --; Introduction --; The Beginnings of the Modern Chinese Cartoon --; Manhua Artists in Shanghai --; Shao Xunmei and his Circle /; Adoption of Foreign Models in Art and Literature --; Miguel Covarrubias --; The Chinese Cartoonists and George Grosz --; The Dissemination of Chinese Political Art --; Jack Chen in China --; The First National Cartoon Exhibition --; Chinese Art and its Part in the Worldwide Fight against Fascism --; Conclusion --; Back Matter --; Bibliography --; Index.
• Bibliography: Includes bibliographical references and index.
• ISBN: 900430794X
• ISSN: 1875-9394
• Hierarchical level: Monograph
• Statement of Responsibility: by Paul Bevan.

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.