A published version has been keenly awaited ever since the lectures were given, and Berlin had always hoped to complete a book based on them. But despite extensive further work this hope was not fulfilled, and the present volume is an edited transcript of his spoken words.For Berlin, the Romantics set in motion a vast, unparalleled revolution in humanity's view of itself. They destroyed the traditional notions of objective truth and validity in ethics with incalculable, all-pervasive results. As he said of the Romantics elsewhere: The world has never been the same since, and our politics and morals have been deeply transformed by them. Certainly this has been the most radical, and indeed dramatic, not to say terrifying, change in men's outlook in modern times.In these brilliant lectures Berlin surveys the myriad attempts to define Romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how its lasting legacy permeates our own outlook. Combining the freshness and immediacy of the spoken word with Berlin's inimitable eloquence and wit, the lectures range over a cast of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, Schlegel, Novalis, Goethe, Blake, Byron, and Beethoven. Berlin argues that the ideas and attitudes held by these and other figures helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, individual self-fulfillment, and the exalted place of art. This is the record of an intellectual bravura performance--of one of the century's most influential philosophers dissecting and assessing a movement that changed the course of history.

    In 300 extraordinary drawings, Hogarth shows how to draw the head from every angle, age the face from infancy to old age, and delineate every feature and wrinkle.

    A definitive study featuring each epoch and region, clearly discussed so that the novice can enjoy this volume as well as the scholar. A must for any student of the arts or anyone interested in how fashion has evolved.

    First published in 1965, On Weaving bridges the transition between handcraft and the machine-made, highlighting the essential importance of material awareness and the creative leaps that can occur when design problems are tackled by hand.With her focus on materials and handlooms, Anni Albers discusses how technology and mass production place limits on creativity and problem solving, and makes the case for a renewed embrace of human ingenuity that is particularly important today. Her lucid and engaging prose is illustrated with a wealth of rare and extraordinary images showing the history of the medium, from hand-drawn diagrams and close-ups of pre-Columbian textiles to material studies with corn, paper, and the typewriter, as well as illuminating examples of her own work.Now available for a new generation of readers, this expanded edition of On Weaving updates the book's original black-and-white illustrations with full-color photos, and features an afterword by Nicholas Fox Weber and essays by Manuel Cirauqui and T'ai Smith that shed critical light on Albers and her career.

    She gamely tries to appreciate the museums, rich food, and architectural wonders that delight her parents, only to find herself drifting along in a puzzling world. But then Miss Skrim-Pshaw takes her for tea with Mr. Crague, a sockless, elderly man with a notable past, and their brief encounter is what will haunt Drusilla years later. Her casual promise to the old man has led to sudden recollection, then sad regret.

    The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories.In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published "Northwest Coast Indian Art: An Analysis of Form." This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists' styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration.The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field

    (from back cover)

    

    As the eminent American designer George Nelson writes: “This book is all about a once-common sence of fitness in the relationships between hand, material, use, and shape; above all, a sense of delight in the look and feel of very ordinary, humble things.”Clearly this is a book to inspire designers. In capturing the principles of Japanese design, Hideyuki Oka goes beyond packaging to reveal the urge toward visual harmony that has produced the beauties of Japanese architecture, gardening, sculpture, painting—and the unique charm of the throw-away teapot one still buys for a few pennies on a Japanese railway platform.Aesthetically boxed-in by their mass-produced plastic containers, Americans might ask why love is lavished on the wrappings of expendable goods—five eggs, for example. Mr. Nelson writes: “The existence of a designed, man-made thing demands that it be appropriate, a feast for all the senses, beautiful. Because the things men made are really like the things nature made, a complete man could no more tolerate the sight or touch of a wrongly made thing than could nature.”Japan’s traditional packaging is illustrated here in astonishing variety, and no less varied are the designs, which range from the delicate and graceful to the rustic and bold but are always functional. Remarkable are the ingenious ways in which these packages solve specific problems of design without sacrificing beauty to necessity.Finally the reader is left to ponder a question that comes to mind throughout the book. As the author expresses it: “If the craftsmen and ‘designers’ of old Japan could create beauty with their materials, are we today to accept defeat when faced with ours?”

    Invaluable advice for the recently deflowered girl.

    

    A heavy volume. Not price-clipped. In protective mylar. 251 pp. including index. [Publisher: Bonanza Books, New York, 1973]

    'This Land is Your Land,' 'So Long, It's Been Good to Know You,' 'Hard Traveling,' 'Pretty Boy Floyd,' & 'The Dust Bowl Ballads,' are just a few of the Guthrie songs that have made his name a byword in American music. Born to Win is a great new collection of his stories, drawings, poems, previously unpublished songs & reminiscences. Their themes are the themes oa whole new generation of balladeers have triumphantly taken up: War. Love. Justice. Wandering. Children. Injustice. Sex. The American scene. together they convey a vivid & immediate sense of what Woody Guthrie is all about.

    

    Frank H. Netter's works, this fully illustrated single book from the 8-volume/13-book reference collection includes: hundreds of world-renowned illustrations by Frank H. Netter, MD; informative text by recognized medical experts; anatomy, physiology, and pathology; and diagnostic and surgical procedures.

    

    Seymour Slive focuses on the major artists of the period, analyzing works by Hals, Rembrandt, Vermeer, Jacob van Ruisdael, and others. He discusses the kinds of painting that became Dutch specialties—portraits, genre scenes, landscapes, seascapes, Italianate pictures, architectural painting, and still lifes—as well as traditional biblical and historical subjects painted by artists of the period. He also examines patronage and trends of art theory, criticism, and collecting. This book replaces the classic section on painting in Dutch Art and Architecture: 1600-1800, jointly written by Slive and Jakob Rosenberg in the 1960s. Slive has completely rewritten and expanded the original text, taking into account his own and other recent scholarship on Dutch painting as well as new archival finds, technical analyses of paintings made by conservators and scientists, and significant pictures that have been discovered. The number of illustrations has doubled, and the result is a book that will immediately establish itself as the new standard work on this great period of painting.

    

    While many pages have been devoted to visual Surrealism, this is the only book on the suject by the movement's founder and prime theorist. It contains Andra Breton's seminal treatise on the origins and foundations of artistic Surrealism, with his trenchant assessments of its precursors and practitioners, and his call for the plastic arts to "refer to a purely internal model." Also included are essays--many of them classics in their own right--on Picasso, Duchamp, Kahlo, Dal', Ernst, Masson, Gorky, Picabia, MirA, Magritte, Kandinsky, and others, as well as pieces on Gaulish art, outsider art, and the folk arts of Haiti and Oceania. But above and beyond the subject matter, what makes this book so enduringly compelling is Breton's signature mixture of rigorous erudition and visceral passion, his sense of adventure, and his discoveries of many of Modernism's most prominent figures early in their careers. Long unavailable in English, Surrealism and Painting is not only a supremely exciting work of art criticism, but also one of the three or four indispensable references for any serious discussion of modern art.