Lineamadre.

Mirano, Editrice Eidos 2004, cm.30x30, pp.ca.100 su carta pesante, con num.tavv.bn.e col. legatura ad anelli, cop.fig.a col.

Novara, Istituto Geografico De Agostini 1966, cm.22x30, pp.644, 634 ill.bn.e col.anche a p.pag. legatura ed.in tutta tela, sopracop.fig.a col. Coll.Arte di Tutti i Tempi.

A cura di Rossana Bossaglia, Stefano Fugazza, Lilli Ghio, Maria Flora Giubilei e altri. Busto Arsizio, Bramante Edit. 1990, 2 voll. cm.17,5x25, pp.1190, centinaia di tavv.bn.e a col.ft. legature editoriali sopracopp.figg.a col. Coll.Storia Sociale e Culturale d'Italia,vol.IV.

With essays by Jodi Hauptman, Matthew Affron, Beth Handler, Kristen Erickson. New York, The Museum of Modern Art 1998, cm.26,5x25, pp.304 illustrato a colori. brossura con copertina figurata a colori. Fernand Lager is the only major modern artist to choose modernity itself as his subject. From his early series Contrastes de formes of 1913-14--the first fully abstract works to emerge from Cubism--through his paintings of construction workers from the late 1940s and early 1950s, his enduring subject was the pulse and dynamism of everyday life. Lager saw the 20th century environment as a "state of contrasts," a condition that he translated into art through forceful juxtaposition of shape, color, and line. His attempt to reconcile the formal concerns of artmaking with issues of social responsibility continues to be relevant to the art world of today. Accompanying texts recount Lager's experience of and interest in America and America's interest in him; explore refractions of Lager's interests in the work of more recent artists; and discuss Lager's ambition to make an art reflecting the "new visual state" of modern life. An illustrated chronology tells the story of the artist's life, focusing on his time in America, the plate section is complemented by a series of short essays tracing the formal and thematic developments in his art, and a selected bibliography and detailed exhibition history complete the book.This book was published to accompany the 1998 retrospective at The Museum of Modern Art, New York.