Daniel Haxall - Picturing the Beautiful Game: A History of Soccer in Visual Culture and Art

Stephen T. Dadd, The Final Tie of the Challenge Cup Contests at Kennington Oval, 1882

William Douglas Almond, Football Association Challenge Cup Match at Kennington OvalBlackburn Rovers v. Notts County, 1891

Stephen T. Dadd, The Final for the Association Cup at Kennington Oval, 1891

Henry Marriott Paget, The Football Association Cup: The Final Tie in the Crystal Palace Grounds, 1895

Gerald Cains, Saturday Taxpayers, 1953

Football supporters at Fratton Park, Portsmouth, 1948

Gerald Cains, Cup Fever, 2006

Brian Clough statue, Albert Park, Middlesbrough

Brian Clough statue, Old Market Square, Nottingham

Brian Clough and Peter Taylor statue, Pride Park, Derby

Umberto Boccioni, Dynamism of a Soccer Player, 1913

Gerardo Dottori, Football Match, 1928

Enrico Prampolini, Angels of the Earth, 1936

Kazimir Malevich, Painterly Realism of a Football PlayerColor Masses in the 4th Dimension, 1915

El Lissitzky, The New Man, from Figurines: The Victory Over the Sun, 1923

Gustav Klutsis, Postcard for the All Union Spartakiada Sporting Event, 1928

Aleksandr Deineka, Footballer, 1932

Maurizio Cattelan, Stand Abusivo, 1991

Maurizio Cattelan, Stadium, 1991

Maurizio Cattelan, Cesena 47A.C. Forniture Sud 12, 1991

Antoni Muntadas, Stadium: Homage to the Audience, 19892006

Roderick Buchanan, Work in Progress, 199395

Khaled Sabsabi, Wonderland, 2014

Ala Younis, Plan for Greater Baghdad, 2015

Michelle Grabner, The Thing Quarterly Issue 27, 2015

Marriage, Soccer (from Fortunate Living Trilogy), 2004

Julia Lazarus, still from Die Brchigkeit der Spielerinnenkrper (The Brittleness of the Players Body), 2011

Moira Lovell, Emily and John, from Stand Your Ground, 2008

Moira Lovell, John and Vicky, from Stand Your Ground, 2008.

Godfried Donkor, Santo Eusebio, 2006

Godfried Donkor, Santo Pogba, 2014

Godfried Donkor, Trinity of the Saints, 2009

George Afedzi Hughes, Golden Boot, 2010

George Afedzi Hughes, Rain Balls, 2011

Owusu-Ankomah, Go For It, Stars, 2004

Diagram of a three-sided football pitch laid out for teams Y, R, and B, from The Book of Deptford

Match at the Alytus Psychic Strike Biennale 2015

Triolectical glyphs left to mark assorted active pitches of a clandestine league

Match in the Luther Blissett Deptford League, 2014

Guillermo Laborde, 1930 World Cup Poster

Filippo Marinetti, 1934 World Cup Poster

Henri Desm, 1938 World Cup Poster

J. Ney Damasceno, 1950 World Cup Poster

Herbert Leupin, 1954 World Cup Poster

Walter Tuckwell and Associates Limited, 1966 World Cup Poster

Joan Mir, 1982 World Cup Poster

Peter Max, 1994 World Cup Poster

L. S. Lowry, Going to the Match, 1953

Neville Gabie, Goalposts: Belfast, Northern Ireland, ongoing since 1996

Christine Physick, Probably the Best Supporters in the World, 2011

Christine Physick, This is Anfield, 2011

Christine Physick, On the Terraces: View from Lothair Road, 2011

Selected group exhibitions of soccer and art since 1996

Selected National Museums of Soccer (dates indicate when physical museum space operated)

The worlds football manager statuary: completed and planned statues as of January 1, 2017, by nation and chronological order of unveiling

In many ways, this book developed from conversations began at two conferences: Football at 150, organized by Jane Clayton for the National Football Museum, Manchester, England, September 24, 2013; and Soccer as the Beautiful Game: Footballs Artistry, Identity and Politics, organized by Brenda Elsey and Stanislao Pugliese for Hofstra University, Hempstead, NY, United States, April 1012, 2014. In both cases, the conference conveners formulated art-themed panels that helped plant the seed for an extended study of soccer and art. My editorial approach to this volume, as well as the critical perspectives informing my own research into art and sport, have been greatly enriched by the diverse scholars I have worked with at conferences or through publication projects.

In addition to the contributors to this volume, I would like to thank Ridvan Askin, Aline Bieri, Drew Brown, Jeffrey Bussmann, Andrianna Campbell, Jamie Campbell, Jan Chovanec, Jane Clayton, Roxane Coche, Simon Critchley, Catherine Diedrich, Mark Doidge, Brenda Elsey, Can Evren, Elyssa Ford, Borja Garca, Oscar Guerra, Taylor Henry, Jillian Hernandez, Craig Hovey, John Hughson, Charlotte Ickes, Gary James, Adam Kadlac, Jeffrey Kassing, David Kilpatrick, George Kioussis, Maja Kovac, Eva Lavric, Erin Lehman, Ted Matthews, Lindsey Men, Derek Conrad Murray, Soraya Murray, Michael OHara, John Paul, Cyprian Piskurek, Stanislao Pugliese, Alon Raab, Mahmoud Rasmi, Nathanael Roesch, Emily Ryall, Bridget Sandhoff, Philip Schauss, Raymond Schuck, Jaime Schultz, Jeffrey Segrave, Jennifer Sterling, Preston Thayer, Helena Tolvhed, Kristof Vanhoutte, Connell Vaughan, Travis Vogan, David Webber, Myles Werntz, John B. White, and Grace Yasumura among many others.

The Department of Art and Art History and Office of Grants and Sponsored Projects at Kutztown University supported my work on this project, and Cheryl Hochberg, Michelle Kiec, William Mowder, and Jeffrey Werner deserve recognition for their continued support. Special thanks to Alexander Jackson at the National Football Museum and Hannah Williamson at the Manchester Art Gallery for their assistance in researching the collections of each institution. Many of my colleagues at Kutztown University provided invaluable feedback and encouraged this art historians foray into sport studies, they include: Rose DeSiano Galjanic, Jason Lanter, Margaret Noel, Lisa Norris, Rebekkah Palov, Heather Ramsdale, and Dan Talley among others. I would also like to thank my parents, siblings, and extended family for their love and support while nurturing my passion for both soccer and art.

Of course, this book would not be possible without the tremendous efforts of our authors, and I am indebted to each of them for their time, patience, and excellent work. From our first meeting at the College Art Association annual conference, Margaret Michniewicz encouraged and directed this rookie editor, and I am grateful for her guidance. In addition, Katherine De Chant, Amy Jordan, and Erin Duffy provided tremendous support at Bloomsbury Academic. I would also like to thank Kevin Eaton and Merv Honeywood of RefineCatch Ltd for their excellent copy edits and production work on the book. As part of internships at Kutztown University, Kassidy Rineer and Emma Osle assisted me with proofreading, editing, and other organizational logistics, and I am thankful for their help. Numerous artists shared their time and insight with our team, and this collection remains a testament to their work. Finally, I would like to thank my wife Kathryn who, although tempted, refrained from issuing me a red card while I worked on this project.

Nick Catley is the third member of a collaborative team with Chris Stride and Ffion Thomas, serving as researcher and editor for the