A new history of postwar painting that explores how the desire to look backward shaped some of the periods most radical artmaking

This incisive account of modernisms postwar development examines how painters, such as Joan Mitchell, Barnett Newman, and Rose Piper, invoked tradition in order to respond to, participate in, and disrupt the histories of the movement being written at midcentury. Saul Nelson argues that artists turn to the past, often dismissed as regressive, offers an important counternarrative to the notion of modernism as always pushing forward. To be a modernist, Nelson contends, was to live in doubtabout which aspects of the past were still needed and how they might be put to new use.

The story ranges across continents and historical boundaries, from India to Europe and the United States. It encompasses Grace Hartigans and Mitchells feminist reworkings of Matisse, the links between the work of Newman and nationalistic nineteenth-century painting, the attempts of Piper to salvage a heritage from the Harlem Renaissance, and F. N. Souzas interrogations of the legacies of colonialism. Never Ending presents a new history of postwar painting in which modernism is reimagined as a practice of retrieval and reinvention, a ceaseless confrontation between tradition and the demands of the present.