Peterson stresses the importance of metering the subject for a starting exposure, and then explains how to use various exposure meters and different kinds of lighting. The book contains lessons on each element of the exposure-aperature, shutter speed, iso-and how it relates to the other two in terms of depth of field, freezing and blurring action, and shooting in low light or at night. A section on special techniques explores such options as deliberate under- and overexposures, how to produce double exposures, bracketing, shooting the moon, and the use of filters. Understanding Exposure demonstrates that there are always creative choices about how to expose a picture-and that the decision is up to the photographer, not the camera.

    Gustav Klimt's art is thoroughly fin de siècle.It expresses the apocalyptic atmosphere of Vienna's upper-middle-class society — a society devoted to the cultivation of aesthetic awareness and the cult of pleasure. The ecstatic joy which Klimt (1862-1918) and his contemporaries found — or hoped to find — in beauty was constantly overshadowed by death, and death therefore plays an important role in Klimt's art. Klimt's fame, however, rests on his reputation as one of the greatest erotic painters and graphic artists of his times. Particularly his drawings, which have been widely admired for their artistic excellence, are dominated by the erotic portrayal of women. Klimt saw the world "in female form." Author Gottfried Fliedlalso discusses the Secession movement and Klimt's role within this important group of artists.

    Schulz has been cartooning for an astonishing 50 years (the "Peanuts" strip itself debuted October 2, 1950, but he drew an earlier incarnation called "Li'l Folks" before that). Peanuts: A Golden Celebration is a remarkable collection of strips spanning that time period. Readers get to see the first appearance of Linus, Marcy, Pigpen, and Woodstock, and even the momentous first time Lucy holds a football for Charlie Brown to kick. Schulz comments on the cartoons and his inspirations via notes in the margin, ranging from boyhood stories about his father (a barber, just like Charlie Brown's) to an account of the time the narcolepsy experts at Stanford University expressed concerns over Peppermint Patty's constant sleeping in class. One of the most interesting inclusions is that of several letters of complaint, ranging from readers whose religious sensibilities have been offended to a 1969 missive from Schulz's own syndicate asking him not to depict Franklin in the same school as the white students anymore. Naturally, the much-loved "Peanuts" holiday specials are covered, as is the musical adaptation You're a Good Man, Charlie Brown, but it's the strips that really make the book. Readers can follow the evolution of Schulz's drawing style--deliberately less realistic as the years went on--and even check out a few panels drawn by Schulz's own cartooning heroes. This is a terrific compilation that serves well both as a chronicle of popular culture and as just a really funny collection of comic strips. Don't wait for the Great Pumpkin to bring you one. --Ali Davis

    Now his long-awaited account of that historic journey has been published. More vivid than the holos and more interpretive than the videos, these extraordinary paintings, plus numerous drawings, studies, and sketchbook pages, transport the reader to a wild, beautiful, untouched world-a planet teeming with incredible beasts and exotic vegetation.Expedition is the most important travel book of the 24th century. Selection of the Science Fiction Book Club and the Astronomy Book Club.

    Pieper expresses succinctly that the foundation of the human person in society is leisure, free time in which one can contemplate, be receptive to being and its beauty."Joy is more profound than sadness, and our capacity to delight in what is mostly determines what we are. Josef Pieper's welcome guidance on leisure, festivity, and contemplation is the most secure and most exciting way to arrive at, and to delight in, the truth in things. Pieper teaches us through music, sculpture, and poetry to see the luminous beauty that reflects an origin deeper than themselves." - James V. Schall, S.J., Georgetown UniversityTable of Contents: Preface Work, Spare Time, and Leisure Learning How to See Again Thoughts about Music Music and Silence Three Talks in a Sculptor's Studio    Remembrance: Mother of the Muses    Those "Guests at the Festival"    Vita Contemplativa - the Comtemplative Life

    As seen here, his color harmonies can be analogous to musical compositions, complex and expressive. Full-color reproductions and thorough text provide a quick yet solid introduction to this master.

    His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.

    It is about where art in the widest sense comes from. It is about why we create and what we learn when we do. It is about the flow of unhindered creative energy: the joy of making art in all its varied forms. Free Play is directed toward people in any field who want to contact, honor, and strengthen their own creative powers. It integrates material from a wide variety of sources among the arts, sciences, and spiritual traditions of humanity. Filled with unusual quotes, amusing and illuminating anecdotes, and original metaphors, it reveals how inspiration arises within us, how that inspiration may be blocked, derailed or obscured by certain unavoidable facts of life, and how finally it can be liberated - how we can be liberated - to speak or sing, write or paint, dance or play, with our own authentic voice. The whole enterprise of improvisation in life and art, of recovering free play and awakening creativity, is about being true to ourselves and our visions. It brings us into direct, active contact with boundless creative energies that we may not even know we had.

    His own legacy is scarcely paralleled in its scope and diversity. Our study of Picasso, the most exhaustive record of his work to date, contains almost 1500 illustrations - from his earliest drawings to the master's very last painting.

    Rackham's illustrations for such works as Alice in Wonderland, A Midsummer Night's Dream, Peter Pan in Kensington Gardens, and Rip Van Winkle have attained the classic status of the writings themselves—and indeed, in some cases, they have become synonymous with them. His works were also included in numerous exhibitions in his lifetime, including one at the Louvre in Paris in 1914. Rackham himself, however, has previously remained a shadowy figure. As well as featuring exquisite illustrations and sketches, extracts from Rackham's correspondence and insightful commentary shed new light on this much-collected illustrator.

    

    Nowadays he is regarded as the founder of abstract art and is, moreover, the chief theoretician of this type of painting. Together with Franz Marc and others he founded the group of artists known as the "Blauer Reiter" in Munich. His art then freed itself more and more from the object, eventually culminating in the "First Abstract Watercolour" of 1910. In his theoretical writings Kandinsky repeatedly sought the proximity of music; and just as in music, where the individual notes constitute the medium whose effect stems from harmony and euphony, Kandinsky was aiming for a pure concord of colour through the interplay of various shades. Gauguin had demanded that everything "must be sacrificed to pure colours." Kandinsky was the first to realise this and thus to influence a whole range of artists. About the Series: Each book in TASCHEN's Basic Art Series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 colour illustrations with explanatory captions

    Like love, it cannot be explained, it can only be rejoiced in. And that is what master storyteller Madeleine L'Engle does in this compellingly written narrative, inspired by Giotto's glorious frescoes from the Scrovegni Chapel in Padua. With a simple clarity that illuminates the life of Christ, Madeleine L'Engle gives eloquent voice to the miracle of God's love.

    From anatomically correct rendering of the body systems, Grey moves to the spiritual/energetic systems with such images as "Universal Mind Lattice," envisioning the sacred and esoteric symbolism of the body and the forces that define its living field of energy. Includes essays on the significance of Grey's work by Ken Wilber, the eminent transpersonal psychologist, and by the noted New York art critic, Carlo McCormick.

    Includes a chronological essay on death in America, as well as a bibliography.Sleeping Beauty is coveted for having played a large role in the rediscovery of the normalcy of postmortem photography. In 1990, Dr. Stanley B. Burns' landmark publication Sleeping Beauty, Memorial in Photography in America, ushered in a new era of appreciation of the importance of these images. Since the publication of Sleeping Beauty, exhibitions based on the 3-book series of memorial images have been created regularly. Perhaps the most prestigious was Le Dernier Portrait at Paris' Musée d'Orsay in 2002. To accompany the exhibit, Sleeping Beauty II: Grief, Bereavement and the Family, American & European Traditions was produced. In 2011, Sleeping Beauty III: Memorial Photography, The Children was written. Numerous other documentarians and feature filmmakers have utilized these poignant photographs, most notably in The Others. The Burns Archive serves as the premier source of images related to death, mourning and medial practices. Postmortem photography is the taking of a photograph of a deceased loved one, and was a normal part of American and European culture in the nineteenth and early twentieth centuries. It has nothing to do with images of violence, crime, or war. Death, and personally dealing with death, was prevalent throughout the entire world as epidemics would come quickly and kill quickly. Advances in medicine removed unexpected death from everyday life and professionals took over. Commissioned by grieving families, postmortem photographs not only helped in the grieving process, but often represented the only visual remembrance of the deceased and were among a family's most precious possessions. Mourning periods were based on family relationships and could last from months to years. Small photographs of the deceased were often carried in lockets or kept close to the body for greater intimacy. As many of the diseases that killed our ancestors were conquered and photography advanced during the century, society grew more and more distant from death, and practices, styles, and traditions of mourning and memorialization changed.The earliest postmortem photographs were often close-ups of the face or full body, at times depicted to appear lifelike or napping. Children were often positioned in a crib, posed with a favorite toy, or with a family member, most often the mother. Later photographs depict the subject in a coffin. Flowers, like forget-me-nots and calla lilies, were common in postmortem photography of all types. Later photographic memorials involve a shrine usually including a living portrait and flowers dedicated to the deceased.

    In a collection of work by one of America's greatest contemporary nature artists, Bev Doolittle's unique vision is revealed in dozens of full color reproductions of her work.

    Documents, workshop products from all areas of design, studies, sketches in the classroom, and architectural plans and models are all part of its comprehensive inventory. The Bauhaus Archiv is dedicated to the study and presentation of the history of the Bauhaus, including the new Bauhaus in Chicago and the Hochschule f

    Delicate watercolors shine like jewels set into each page of this exquisite book. In tones of sea and morning sky, stucco and brick, olive leaf and apricot, rose and geranium, sara Midda captures the land, the people, the shimmering air—the whole feeling of Provence and the Côte d'azur, and the spell they cast over even those who haven't visited. Interspersed throughout are photographic collages and charming observations. The whole book is printed on uncoated stock to convey the feeling of an artist's sketchbook.

    The many-pointed star formed from large icicles balances on a rock in a quiet Dumfriesshire valley, a delicate bamboo screen stands on a Japanese beach, a great serpentine ridge of earth extends along a disused railway cutting on Tyneside, four massive snow rings mark the position of the North Pole.

    Cofounder of the magazine World War 3 Illustrated, Tobocman documents a decade of gentrification and fierce struggle in New York and the world at large.

    It reproduces extensive extracts from his correspondence and is illustrated with his paintings, drawings and facsimile letters. Van Gogh's letters are a testimony to his struggle to survive and work. Here, the combination of letters and illustrations, concentrating on the period when he painted his greatest works, aims to provide an insight into his daily life in Arles and St-Remy, his spiritual torment and the process of artistic creation itself. The author is an "Observer" journalist specializing in the arts, and has published four previous books, including "Young Vincent: The Story of Van Gogh's Years in England".

    Caroline, the novel's protagonist, returns to New York after the death of her father ostensibly to wrap things up and take care of necessary "business" where her memory and imagination conspire to lay before her all her griefs and joys in a rebellious progression. In different voices, employing a collage-like fragmentation, Maso gently unfolds The Art Lover in much the same way the fragile and prehistoric fiddlehead fern unfolds throughout the novel, bringing with subtle grace the ever-entangled feelings of grief and love into full and tender view. Various illustrations throughout.

    Adams's breathtaking images are accompanied by excerpts from the writings of Sierra Club founder John Muir, the renowned conservationist who devoted his life to celebrating and preserving the American wildnerness.

    Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old.

    It deals with one powerful obsession that preoccupied Escher: what he called "the regular division of the plane," the puzzlelike interlocking of birds, fish, lizards, and other natural forms in continuous patterns. Schattschneider asks, "How did he do it?" She answers the question by analyzing Escher's notebooks." Visions of Symmetry includes many of Escher's masterworks, as well as hundreds of lesser-known examples of his work. This new edition also features a foreward and an illustrated epilogue that reveals new information about Escher's inspiration and shows how his ideas of symmetry have influenced mathematicians, computer scientists, and contemporary artists.

    It demonstrates the wide range of her artistic skill - flower paintings, country scenes and interiors, still life, detailed studies of animals and birds, microscope paintings of insects and fungi, and fantasy pictures.

    Having finally earned the money and gained the respect he sought in his early days as a struggling painter, Monet designed and built the home and gardens in the village on the Seine that would be the site of the famous "Grain Stacks" and "Water Lilies" paintings that would secure his reputation. A good, affordable introductory study of the pioneer of modern art.

    A revised edition of a retrospective on the Venice Biennale grand prize-winning artist incorporates the last ten years of his career including his retrospective exhibition at the Guggenheim in 1997, in a lavishly illustrated portrait that traces his early years, the creation of his famous combines, his work with new technologies, and the establishm

    Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

    Refusing to succumb to despair, he instead transformed his anger at poverty and racism into a creative force and went on to break down one barrier after another. He was the first black photographer at Vogue and Life, and the first black screenwriter and director in Hollywood, at the helm of such projects as the award-winning Shaft. And his novel, The Learning Tree, has sold more than a quarter of a million copies.Spanning the major events of five decades, Voices in the Mirror takes readers from Minnesota and Washington, D.C., to the glamour of Paris and the ghettos of Rio and Harlem. His intimate portrayals of Ingrid Bergman and Roberto Rossellini; of the Muslim and African American icons Malcolm X, Elijah Muhammad and Muhammad Ali; of the young militants of the civil rights and black power movements; and of the tragic experiences of the less famous, like the Brazilian youngster Flavio, combine to form an unforgettable story.Gordon Parks’s life is a metaphor for the courageous vision and extraordinary resilience of the African American community, while also serving as a testament to the spirit and generosity that are its hallmarks.

    Some of the 50 flower images in this collection, all in colour, date from the early 1980s, but many of them from the months leading to his death in 1989.

    

    Original art from all the McCay's endeavors and rare personal photographs provide a visual counterpart to Canemaker's fascinating text. Begining with McCay's childhood in pioneer-era Michigan, circa 1870, this biography moves on through his earliest attempts to find an artistic voice in Chicago and turn-of-the-century Cincinnati, his work with circus posters, as a quick-sketch newspaper reporter, as a headliner chalk-talk artist in vaudeville, as crown jewel in William Randolph Hearst's grand line-up of newspaper cartoonists, and as the greatest of the early animators. McCay's masterpiece is the epic Little Nemo in Slumberland (1905), a beautiful and surreal fantasy rendered in stunning art nouveau line and subtle yet daring colour, and designed with layouts that anticipate cinematic storytelling techniques. Gertie the Dinosaur (1914), remain landmarks in the history of this art and were unmatched in the fluid movement and personality of the characters until the mature films of Walt Disney came along two decades later.

    The first essay is devoted to Roman wall-painting while in the second the author surveys a major segment in the history of still life, from seventeenth-century Spanish painting to Cubism. The third essay tackles the controversial field of seventeenth-century Dutch still life. Bryson concludes in the final essay that the persisting tendency to downgrade the genre of still life is profoundly rooted in the historical oppression of women. In Looking at the Overlooked, Norman Bryson is at his most brilliant. These superbly written essays will stimulate us to look at the entire tradition of still life with new and critical eyes.

    

    

    Those seminal books in feline aesthetics are now offered in new pocket-size editions filled with the best from each volume, making purrfect gifts for cat lovers and art lovers alike.

    He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision.Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.

    A wise, honest, and inspiring book.

    In this second volume, more of his photographs taken by an infra-red technique, reveal his research into the hauntings of another 60 locations.

    It presents a wide range of his work, from his days as a press photographer in Germany through his long, prolific career at LIFE magazine, where he began on the first issue in 1936.

    A thrilling, appalling trip through the backwaters of American culture.

    One of the most controversial and, ultimately, canonized photographers of our time, Mapplethorpe died in March 1989, at the peak of his critical acclaim. This collection was among the last projects that he undertook and includes a retrospective of his portraits of women, the majority of which have never been published in book form. "Some Women" explores female beauty in many incarnations, beauty both idealized and externalized. It brings together eighty-six of Mapplethorpe's finest images - a balance of his luminous nudes, fashion shots, and portraits. The women included come from every age group and rnge from the unfamiliar to the notable. Isabella Rossellini, Grace Jones, Sigourney Weaver, Yoko Ono, Brooke Shields, Cyndi Lauper, Melanie Griffith, Susan Sarandon, and Mapplethorpe's close friend Patti Smith are among the numerous celebrities who participated. Equally arresting are the lesser known: fellow artists, friends, favorite models, and children. "Some Women" reveals the full extent of Mapplethorpe's mastery of black-and-white photography and his gift as a portraitist.In her introduction, Joan Didion probes the relationship between the artist and his subject, observing that "there was always about Robert Mapplethorpe an astonishing convergence of quite traditional romantic impulses There was the romance of the apparently conventional. There was the romance of art for its own sake" "Some Women" is the work of an assured photographer. It is an essential part of Robert Mapplethorpe's legacy.Robert Mapplethorpe was born in New York in 1946 and received a B.F.A. from the PrattInstitute in 1970; he died in March 1989. His portraits, self-portraits, and photographs of nudes, sculptured objects, flowers, and still lifes have had an undeniable impact on the art world. In 1988 he achieved the greatest recognition of any photographer of the past decade in two major independent retrospectives: at the Whitney Museum of American Art in New York and the Institute of Contemporary Art in Philadelphia.Mapplethorpe's photographs have appeared in nearly two hundred solo and group exhibitions and hang in major collections worldwide. His publications include "Lady: Lisa Lyon" (1983) "Certain People" (1985) "Black Book" (1986) "Robert Mapplethorpe" (1988)and "Flowers" (1990)

    As such, this is a critical survey of modern Western philosophy, focusing in particular on the complex relations between aesthetics, ethics & politics. Eagleton provides a brilliant & challenging introduction to these concerns, as characterized in the work of Kant, Schiller, Schopenhauer, Kierkegaard, Marx, Nietzsche, Freud, Heidegger, Lukacs, Adorno, Habermas & others. Wide in span, as well as morally & politically committed, this is his major work to date. It forms both an original enquiry & an exemplary introduction.

    Borobudur contains more than a thousand exquisitely carved relief panels extending along its many terraces for a total distance of more than a kilometer. These are arranged so as to take the visitor on a spiritual journey to enlightenment, and one ascends the monument past scenes depicting the world of desire, the life story of Buddha, and the heroic deeds of other enlightened beings—finally arriving at the great circular terraces at the top of the structure that symbolizes the formless world of pure knowledge and perfection.

    

    This survey includes her most famous pieces and discusses the ways in which her art challenges social values and the nature of art-making, and uses images appropriated from various sources to capture attention.

    With a skillful blend of inspiration and instruction, artist and naturalist Cathy Johnson offers personal anecdotes, exercises, and helpful tips to guide even first-time artists in using sketching and painting to deepen their understanding of the natural world.Featuring simple, step-by-step instructions and 280 examples of the author's own work—in color and black-and-white—The Sierra Club Guide to Sketching in Nature covers a broad range of subjects, including tools and equipment; mixing paints and washes; understanding color and using a color wheel; capturing the illusion of light; sketching clouds, flowers, trees, plants, and animals; and using field sketches as studies for future paintings. The book also includes source lists for art supplies (including mail order), lists of national workshops for sketching and painting, and a bibliography.

    

    Clever illustrations and story lines, together with full-color reproductions of actual paintings, give children a light yet realistic overview of each artist's life and style in these fun and educational books.

    It illustrates the heralding of Bambi's birth, Thumper's friendship, Bambi's mother's death and how a stronger and wiser Bambi lives to become the Prince of the Forest. This coming of age tale captures the innocence of childhood and the painful yet fantastic thrill of youthfull discovery. To complement the story, Ollie Johnston and Frank Thomas, the two Disney animators who worked on the film, give an account of the creative struggles and victories that followed the start of the Bambi project in 1936.

    A romantic and ultimately hopeful tribute to contemporary romance, using brilliant color illustrations which chart a voyage of infatuation, growth, separation, and reunion that will make this the gift book for the valentine season.

    An engrossing account of his life, his art, and the world in which he lived, this compelling and timely portrait is illustrated with color reproductions". . . . fleshes out the man and the painter behind the popular myth".--New York Times. A New York Times Notable Book for 1990. National

    

    Its 256 color plates have preserved for each succeeding generation a wide- ranging selection of outstanding posters from the turn of the century, when the popular art form had reached its first peak. This Dover edition is the first complete republication of the legendary Maîtres set to devote a full large page to each plate.Les Maîtres de l'Affiche was issued as separate numbered sheets measuring 11 1/4 x 15 1/2 inches. Every month for 60 months, from December 1895 through November 1900, subscribers received a wrapper containing four consecutively numbered poster reproductions. On 16 occasions, the monthly wrapper also contained a bonus plate, not a poster reproduction but a specially created art lithograph. Jules Chéret, father of the modern poster, emerged with the lion's share of the plates, 60 of the 240 numbered poster reproductions and 7 of the 16 unnumbered bonus plates. Of the 97 artists represented in Les Maîtres de l'Affiche, some were preeminent painters and printmakers at various stages of their careers: Toulouse-Lautrec, Denis, Bonnard, Vallotton, Puvis de Chavannes. Others were famous illustrators and cartoonists of the period, still well known to art collectors and bibliophiles: Forain, Caran d'Ache, Ibels, Willete, Boutet de Monvel, Léandre. But there were also all those whose names say "poster," the conquering pioneers of the new medium: Chéret himself, Mucha, Steinlen, the Beggarstaffs, Grasset, Penfield, Parrish, Bradley, and Hardy.This edition reproduces the plates in their original numerical sequence, one to a page, retaining the standardized tan border introduced by the editors of Les Maîtres. The bonus plates, originally unnumbered and issued at various times, have been given the letters A through P and have been placed at the end of the volume. The List of Plates indicates the exact months in which Maîtres subscribersreceived these bonus plates. In order to keep the plate pages uncluttered, the captions on those pages have been limited to plate number (or letter) and the artist's name. The List of Plates also furnishes essential data on the original full-sized posters: their dimensions, the year in which they were first published, city of publication, and specific print shop responsible. A special Dover feature, which is almost certainly a first ever, is a full literal translation of the text of all posters printed in a language other than English. These are all new direct translations from French, German, Italian, Spanish, Dutch, Danish, Czech, and Hungarian.

    . . and that generation's children. Now in this gift edition book, Lennon's classic song Imagine is brought to life as never before among joyful, vibrant illustrations that perfectly capture the song's message of world peace and harmony. Full color throughout.

    Over 120 paintings in stunning, full-color plates.

    Cream linen cloth boards with titles embossed on cover and spine in white. 9 page poem by Reynolds Price. Over 100 rich gravure photographic plates. Widely regarded as the photographer’s finest work, and surely his most celebrated book. A “must-have” title for Bruce Weber collectors.

    Here is the dramatic story and the first photographic documentation of what happened to the public's land at 'Bravo 20.' With the help of local residents, award-winning landscape photographer Richard Misrach gained access to the area using an 1872 mining law to claim a tract of land at the heart of the bombing range.

    

    A history, in 15 chapters, of the great jewellers of the past 150 years, featuring Castellani, Giuliano, Fontenay, Hancock, Falize, Boucheron, Faberge, Lalique, Tillander, Vever, Fouquet, Tiffany, Cartier, Van Cleef and Arpels, Verdura and Bulgari.

    Clever illustrations and story lines, together with full-color reproductions of actual paintings, give children a light yet realistic overview of each artist's life and style in these fun and educational books.

    Same-scene paintings are shown together to accentuate Monet's love of light and varying effects.

    Jenny Holzer was born in 1950 in Gallipolis, Ohio. She first came to prominence in New York in the late 70s and early 80s. Among other awards she has received, Holzer in 1990 became the first woman to ever win the Leone d'Oro at the Venice Biennale. Her work has been exhibited in most every major museum around the world, and she has created installations for public and private sites including the Reichstag and the Times Square Spectacolor billboard in New York.

    Borrowing from The Metropolitan Museum of Art’s extensive and rich collection, The Christmas Story depicts the Nativity through visual narration with the aid of paintings by, among others, Petrus Christus, Gerard David, and Hans Memling. Gold accents on the book jacket and interior pages make for a glorious and lush book. The artworks, sensitively coupled with excerpts from the King James Version of the Bible, create a book that will be treasured by the entire family for years to come.

    Exhibiting extraordinary talent and technical ability in his paintings, Rockwell evoked feelings of kinship and empathy. With uncanny accuracy, Rockwell represented the experiences, sentiments, and aspirations of ordinary people, and the people responded, contributing to his tremendous success and popularity. Rockwell was always fond of linking his subject matter to holidays and seasons - to Thanksgiving, or the Fourth of July, or New Year's Day - but above all to Christmas, with its atmosphere of family warmth, love and giving. If any single theme can be called characteristic of Rockwell's work or closet to the artist's heart it must surely be that of family warmth and happiness during the holiday season. If it can be said that Rockwell can be remembered for any one body of work, it must also be this. From December 9, 1916, when Rockwell's first Christmas cover for the Saturday Evening Post appeared, and continuing for three decades, the artist's annual Post Christmas cover was practically a national institution. As the clamor for Rockwell's Christmas paintings increased, he produced them for other magazines as well, and for cards, advertisements, illustrations, and calendars. Each of the paintings embodied the human dimension of the holiday season - reflecting exuberance, nostalgia, humor, and spontaneous kindness. This album features more than 50 full-color reproductions of Rockwell's most beloved Christmas season paintings, selected from every phase of his career and spanning a period of 60 years. Author Kirk's informative text illuminates the artistic career of the artist who captured the loving and uniquely American spirit of a holiday dear to the hearts of so many people around the world.

    In this beautiful new book, Paul Hayes Tucker provides a fresh context for these heralded canvases. Drawing on a wide array of sources, from popular broadsides to political speeches, Tucker proposes that Monet's series paintings were not only an artistic response to the beauties of nature but were also related to contemporary events in France and to Monet's determination to provide active leadership for his nation's artistic production. Monet, who had been accused earlier in his career of disregarding professional decorum and denigrating the aesthetic values that France held dear, was hailed by the end of the 1890s as one of the finest landscape painters of the century and as a great national artist. Tucker examines the circumstances that contributed to this shift in opinion: the changes in Monet's art and in his life, an evolution in public taste, and the maturation of concerns the French had about their country and its place in the world. Tucker looks carefully at the development of Monet's art before the 1890s, analyzing in particular the cultural pressures of the 1880s that caused Monet to turn to serial painting. He then focuses in considerable detail on the major and minor series from the ensuing decade, examining how they were painted, their critical reception, and the meaning they held for Monet and his public.This engrossing study provides new subtlety to the series paintings, showing that their rich, encrusted surfaces, extraordinary light effects, and dazzling repetition of images touched deep aesthetic and nationalistic chords. In addition, as Tucker sets the paintings in this larger historical context, he also is able to give us a fresh perspective on Monet's role in the continuities and contradictions of fin-de-siecle French culture.Publication of this book coincides with an exhibition of Monet's series paintings of the 1890s. The exhibition will open in Boston in February 1990 and will move to Chicago in May and London in September.Paul Hayes Tucker, associate professor of art at the University of Massachusetts in Boston, is also the author of Monet at Argenteuil.

    Traces the first one hundred and fifty years of photography, and shows photographs of representative artists from William Henry Fox Talbot to Cindy Sherman.

    This splendid volume brings together the best of Beardsley's work — a rich selection ranging from illustrations for Laclos's Les Liaisons Dangereuses and Balzac's La Comédie Humaine to magazine cover designs, book plate silhouettes, title-page ornaments, and delightful mini-portraits of major composers. Also included are two photographs of the artist, consisting of private portrait studies by Frederick H. Evans.Over 180 beautifully reproduced black-and-white plates capture the uniqueness of Beardsley's vision and reveal the seductive power of his art. Among the illustrations are brilliantly conceived vignettes from Le Morte D'arthur, Venus and Tannhäuser, Salome, and Lucian's True History as well as enchanting creations for The Yellow Book (an influential British arts quarterly), and much more.Characterized by bold black masses, elongated shapes, and sensually provocative figures, these works are the product of a remarkable individual style that transformed the art of illustration. Reproduced here in an inexpensive high-quality format, they are certain to thrill not only Beardsley enthusiasts but anyone interested in the early years of modern graphic art.

    

    The sky orange-red above him. His hands raised to his ears, his mouth wide in a haunting wail. In painting The Scream, Edvard Munch (1863 1944) created Mona Lisa for our times. The shriek of his iconic figure reverberates around the world, its echo resounding in the work of Andy Warhol, Jasper Johns, Martin Kippenberger, Marlene Dumas, and Tracey Emin.This introductory book surveys Munch s staggering capacity for psychodrama in The Scream and beyond. With rich illustration, it looks at the lurid, dark, and deeply modern visions that made up the artist s response to relationships and emotions. These compelling images, regarded by the artist himself as a means of free confession, remain as magnetic today as they were on the brink of modernism.About the series: Each book in TASCHEN s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions"

    Throughout the book, the clinical illustrations the author has selected brilliantly spotlight the theory, touching the imagination, and fixing even the most difficult ideas permanently in the reader's mind. In a mutually enhancing relationship, theory and clinical example are combined, and then applied, to create the author's new and original theories of art and aesthetics.As Betty Joseph notes in her foreword, Segal's writing, and in particular this book, does much to enrich psychoanalysis not only because of the clarity and intelligence but also because of the depth and breadth of her interests and her clinical imagination.

    While the "Glasgow Boys" group of painters has been widely written about, their female contemporaries have received far less attention. In this work, the editor redresses this imbalance, bringing together research from 18 scholars on the work of an astonishing number of female artists from this period.

    He belongs to no current movement, lives far from the bicoastal art world, and his paintings consequently defy easy description. This volume, published in conjunction with a retrospective exhibition at the Museum of the Rockies, includes Chatham's early oils from Northern California as well as the Montana paintings that have brought him national acclaim.

    With stunning full-color plates, additional black-and-white illustrations, and concise, authoritative text, these unique, beautifully produced studies present the life, work and achievements of America's greatest painters, architects and photographers.

    . . a must for every dyer.  The recipes are explicit and detailed as to success and failure."—Mary Frances DavidsonFor several thousand years, all dyes were of animal, vegetable, or mineral origin, and many ancient civilizations possessed excellent dye technologies.  The first synthetic dye was produced in 1856, and the use of traditional dyes declined rapidly thereafter.  By 1915 few non-synthetics were used by industry or craftspeople.   The craft revivals of the 1920s explored traditional methods of natural dyeing to some extent, particularly with wool, although the great eighteenth- and nineteenth-century dye manuals, which recorded the older processes, remained largely forgotten.  In The Art and Craft of Natural Dyeing, J. N. Liles consolidates the lore of the older dyers with his own first-hand experience to produce both a history of natural dyes  and a practical manual for using pre–synthetic era processes on all the natural fibers--cotton, linen, silk, and wool.  A general section on dyeing and mordanting and a glossary introduce the beginner to dye technology. In subsequent chapters, Liles summarizes the traditional dye methods available for each major color group.  Scores of recipes provide detailed instructions on how to collect ingredients--flowers, weeds, insects, wood, minerals--prepare the dyevat,  troubleshoot, and achieve specific shades. The book will appeal not only to beginning and veteran dyers but to students of restorations and reconstruction as well as to craftspeople--spinners, quilters, weavers, knitters, and other textile artists--interested in natural dyes for their beauty and historical authenticity.The Author: J. N. Liles is professor of zoology at the University of Tennessee, Knoxville.  He has taught at Arrowmont School and other regional craft schools and has exhibited his work at the Arrowmont School, the Southern Highland Handicraft Guild Folk Art Center, and the Carol Reece Museum.

    According to Didi-Huberman, visual representation has an "underside" in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the "science of iconology."To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud's concept of the "dreamwork," not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer's Lacemaker.

    This apotheosis of banal, everyday objects simultaneously constituted a criticism of the traditional elitist understanding of art. Almost alone among artists, Lichtenstein pursued the question of how an image becomes a work of art. Wholly in keeping with the spirit of the Classical Modern, he held that it was not the "rank" of the picture's subject that lends the picture its artistic character, but rather the artist's formal treatment of it. To Lichtenstein, however, this position seemed far too broad to be seriously pursued. Developed in the early 60s, Lichtenstein's grid technique, with its allusion to the mass-production of graphic art, allowed the painter to give vent to his own artistic scepticism. In the 60s and 70s, Lichtenstein expanded his formal repertoire of techniques for creating distance and irony by means of an idiosyncratic process of abstraction and especially by his use of his numerous art quotations.

    These urban scenes were very popular with the public, particulary in the north of England where he did so much of his work, but less so with the offical art world.Contents:The Leeds background; Early years; Knostrop old hall; Painter of moonlight; "No marks of handling" Grimshaw's methods and technique.

    A friend and colleague of the Abstract Expressionists who nevertheless maintained his commitment to representation, Avery was enormously important to several succeeding generations of artists and produced some of the most resonant and beloved images in American art history. Avery's work reflects the concerns he shared with the pioneer French modernists including Matisse, Dufy, and Picasso: saturated color in distinctly new combinations and an interest in retaining the two-dimensional character of the canvas. The combination allowed him to create a distinctly American brand of modernism.

    Gems culled from thrift shops reveal a "twilight zone where high art, popular culture and the collective unconscious overlap."--The New York Times

    The volume explores many different types of love - romantic, conjugal, filial, platonic, lost, troubled and ideal. The poems represent the work of more than 150 poets.

    Topics range from the religious rites of the Aztecs to modern american painting, from Eastern art and religion to love and eroticism. Translated by Helen Lane.

    Her collection was the seed that grew into one of the greatest museums in the world . Never before has such a vast number of works from this magnificent collection been published in one volume.

    

    Dozens of examples are illustrated, including parallel, angular, and oblique perspectives, as well as ascending and descending planes. Other images show how to create a “cone of rays,” and add depth and realism to curved objects. The techniques can be used for laying out a garden, predicting the shadow effects of a tall building, and accurately capturing the interplay of angles, light, and shadow.

    Large, thin hardcover book on Turner

    Photographs, primarily from private collections rarely seen.

    While showcasing more than sixty images, the text explores Vienna at the turn of the century and Klimt's importance in its society and in the modern art movement.

    

    His intricate figurative paintings - for which he has been immortalized in art history - reveal a subtly innovative and quietly absorbing combination of influences from a diversity of both ancient and classical sculpture, and painting.The author of this tome focuses not solely on the actual paintings - deconstructing in detail their almost architectural and cinematic conceptions - but furthermore explains their context and their interesting reception by the Victorian public. The content of this book is punctuated by numerous illustrations of Lord Leighton's paintings and sculptures, as well as a selection of rare and relevant photographs.Overall, this is the definitive monograph to Frederic, Lord Leighton - the artist, the public figure and the private person - comprising an insightful coverage of his career, and combining intellectual rigour in its content with aesthetic harmony in its presentation.

    With ninety-one music examples, most of them complete pieces nowhere else in print, and enlivened by twenty-eight illustrations, this landmark study will be essential for all students of opera, amateur and professional, and for students of European cultural history in general.Because opera was new in the seventeenth century, the composers (most notably Monteverdi and Cavalli), librettists, impresarios, singers, and designers were especially aware of dealing with aesthetic issues as they worked. Rosand examines critically for the first time the voluminous literary and musical documentation left by the Venetian makers of opera. She determines how these pioneers viewed their art and explains the mechanics of the proliferation of opera, within only four decades, to stages across Europe. Rosand isolates two features of particular importance to this proliferation: the emergence of conventions—musical, dramatic, practical—that facilitated replication; and the acute self-consciousness of the creators who, in their scores, librettos, letters, and other documents, have left us a running commentary on the origins of a genre.

    Provides information on every important theory and intepretation and every recognized deck, illustrating and commenting on the symbolism of the early Tarocchi decks and the major later decks.

    11 full-color reproductions.

    Some of his works echo those of M.C. Escher in their meticulous rendering of shapes and patterns, while other pieces seem to be more visceral expressions of mathematical ideas. Stimulating to the imagination and to the eye, his rich and evocative work can be interpreted and appreciated in various ways - mathematical, aesthetic or emotional.

    YOU THE CITY was produced in New York City in 1988. It was re-produced in London in 1989 by the London International Festival of Theatre. A production in the Hague took place in 1990. This book includes the original New York script of the performance, performance instructions, notes, maps, charts, and photographs of the event as it was played out. YOU THE CITY is so unique in idea, execution, and audience, that it beggars the most technical of descriptions--London Sunday Times.

    Among the fifty exquisite color plates are twelve paintings-seven from Soviet collections-that have never been seen in the United States. Each of the Moroccan paintings and drawings is fully documented, as are the course of the artist's travels and his written impressions, many of which are previously unpublished. The book also features many rare archival photographs and a chronology. Matisse in Morocco celebrates one of the most dazzling moments in the art of our century, and for only the second time since the works were first exhibited in Paris nearly eighty years ago.

    Letters, documents and photographs are included. Rewald has also compiled a catalogue raisonne of Cezanne's watercolours."

    A major contemporary French writer debuts in English with five stories relating to five great painters."

    An essay on the emergence of the Fauve landscape is followed by four essays devoted to individual sites and such topics as Fauvism's impact on tourism and politics. Another essay concentrates on the critical landscape, in essence the critics' reception of these paintings. Matisse, Braque, Derain, Vlaminck, Dufy, Marquet, Manguin and Friesz are represented with examples of their works.