The album covers collected in this comprehensive volume under the well-known Blue Note record label embody classic design and pioneering typography. Two hundred color photographs of the album sleeves, an informative history of the Blue Note record company, and a portrait of Reid Miles, who designed nearly 500 album covers, capture the integrity of this distinctive record label. Sophisticated jazz connoisseurs and young listeners alike, as well as those with an interest in style and graphic design, will enjoy this exciting book of jazz memorabilia.

    An understanding of human form is essential for artists to be able to express themselves with the figure. Anatomy makes the figure. Human Anatomy for Artists: The Elements of Form isthe definitive analytical work on the anatomy of the human figure. No longer will working artists have to search high and low to find the information they need. In this, the most up-to-date and fully illustrated guide available, Eliot Goldfinger--sculptor, illustrator, scientific model-maker, and lecturer on anatomy--presents a single, all-inclusivereference to human form, capturing everything artists need in one convenient volume. Five years in the making, and featuring hundreds of photos and illustrations, this guide offers more views of each bone and muscle than any other book ever published: every structure that creates or influencessurface form is individually illustrated in clear, carefully lit photographs and meticulous drawings. Informed by the detailed study of both live models and cadavers, it includes numerous unique presentations of surface structures--such as fat pads, veins, and genitalia--and of some muscles neverbefore photographed. In addition, numerous cross sections, made with reference to CT scans, magnetic resonance imaging, and cut cadavers, trace the forms of all body regions and individual muscles. Information on each structure is placed on facing pages for ease of reference, and the attractivetwo-color format uses red ink to direct readers rapidly to important points and areas. Finally, an invaluable chapter on the artistic development of basic forms shows in a series of sculptures the evolution of the figure, head, and hands from basic axes and volumes to more complex organic shapes.This feature helps place the details of anatomy within the overall context of the figure. Certain to become the standard reference in the field, Human Anatomy for Artists will be indispensable to artists and art students, as well as art historians. It will also be a useful aid for physical and dance therapists, athletes and their trainers, bodybuilders, and anyone concerned withthe external form of the human body. With the renewed interest in figurative art today, this will be an especially welcome volume.

    Here nearly 200 illustrations--over 100 in color--make a fascinating collection.

    Four-color throughout.

    By the time of his death in 1990 at the age of thirty-one, Haring's career had moved from underground New York to the most prestigious galleries and museums in the world. Here Keith Haring's story is told by those who knew him—and by the artist himself. He candidly reflects on all aspects of his life, including his approach to art, being gay, and how he came to terms with AIDS. John Gruen masterfully combines Haring's own words with the observations of those who knew him best, including art dealer Leo Castelli; Madonna; artists Roy Lichtenstein, Francesco Clemente, and Kenny Scharf; Claude Picasso; Timothy Leary; and William Burroughs, among others. Haring emerges as both a courageous and enigmatic personality—a champion of art for all people.

    Enveloped in a nimbus of immorality, he if any had a way of continually provoking the cultural authorities and astounding the public with his inexhaustible creativity. Be it as a writer, commentator or painter, actor, choreographer or producer, in the course of his spectacular career he worked and quarreled often enough with all the great artists of his era, from Diaghilev, Stravinsky, Satie and Picasso to Apollinaire, Radiguet, Gide and Truffaut. But no matter what form of artistic expression Cocteau chose to use, he left his personal stamp upon it in some inimitable way. While his literary works and films are known to a wide public, Jean Cocteau's extensive oeuvre as a painter and draughtsman still holds surprises in store. This book, with over 140 illustrations, presents a broad selection of his erotic drawings from four decades, many as yet unpublished. From "Le Livre blanc", Cocteau's controversial homoerotic manifesto printed anonymously in 1928, to his works from the early 60s, the style and line-work may vary but never the theme: Cocteau's highly explicit works are devoted to one subject alone: the Eros of the male sex."As far back as I can remember, I can find traces of my love for boys. I always preferred the strong sex, which I think may legitimately be called the fair sex."With these words Jean Cocteau openly acknowledged a homosexuality that he lived out to the full, and expressed in his erotic drawings. The volume contains 140 of his most beautiful works from four decades, most of which are published here for the first time.

    In moving through the history of thought and design, building and construction, he assures us of the possibilities of arranging existence in a humane fashion. As ever he is concerned with the question of the conditions needed to produce a civilised culture. These conditions have to be fought for against apparent factual or material constraints and spiritual and intellectual substitutes on offer.Otl Aicher likes a dispute. For this reason, the volume contains polemical statements on cultural and political subjects as well as practical reports and historical exposition. He fights with productive obstinacy, above all for the renewal of Modernism, which he claims has largely exhausted itself in aesthetic visions; he insists the ordinary working day is still more important than the "cultural Sunday."

    More than 150 of the surviving masterworks from the original show are collected and illustrated in this book.

    A leader of the Dada movement in Germany, he later joined the circle of writers and artists gathered in Paris around André Breton, the unofficial founder of the Surrealist movement. At the outset of World War II, Ernst fled Germany for the United States, first going to New York and eventually settling in Sedona, Arizona. Ernst returned to Europe in 1950 and continued to explore Surrealist imagery and methods throughout his life.This important book accompanies the first retrospective exhibition of Ernst’s work held in the United States in thirty years. It examines his pioneering accomplishments in painting, collage, and sculpture and considers his use of the techniques of frottage, grattage, and decalcomania. Also featured are Ernst’s unique collage novels--narratives comprising disparate images culled from nineteenth-century engravings and combined in surreal, unsettling compositions. Leading scholars write on various aspects of Ernst’s life and art: Werner Spies on Ernst in America; Ludger Derenthal on Ernst and politics; Pepe Karmel on Ernst and contemporary art; Thomas Gaehtgens on Ernst and the old masters; and Robert Storr on the collage novels.

    

    

    It offers an exicting and provocative analysis of the body and body metaphors in an encyclopedic work of truly international and interdisciplinary nature".-- Louis Gottschalk Prize "Stafford's books is ... full of intriguing, even intoxicating, ideas. For anyone involved with images it opens unexplored avenues of thought, forcing one to question traditional assumptions about both images and text". -- Helene Roberts, Visual ResourcesIn this erudite and profusely illustrated history of perception, Barbara Stafford explores a remarkable set of body metaphors deriving from both aesthetic and medical practices that were developed during the enlightenment for making visible the unseeable aspects of the world. While she focuses on these metaphors as a reflection of the changing attitudes toward the human body during the period of birth of the modern world, she also presents a strong argument for our need to recognize the occurrence of a profound revolution -- a radical shift from a text-based to a visually centered culture.Co-recipient of the 1992 Louis Gottschalk Prize, The American Society for Eighteenth Century Studies

    

    The pages are in very good condition; dust cover slightly worn;

    The extensive redevelopment of Times Square by Disney has focused attention on the architectural glories of the Great White Way, as the recent and much-anticipated reopening of the New Amsterdam Theater demonstrates. Princeton Architectural Press is pleased to announce a revised and updated edition of Lost Broadway Theatres, as part of the renewed interest in Broadway.Lost Broadway Theatres is the only definitive, comprehensive history of the New York playhouses of the past. Over fifty theaters, dating from the 1880s to the 1930s, are presented through brief histories and period photographs. Some of the theaters included are the Ziegfeld, the Lyric, Hammerstein's, and the Republic. This new edition includes additional photos and updated historical information on this fascinating piece of New York City's past. Emmy award-winner Nick van Hoogstraten has included two new theaters, the Biltmore and the Mark Hellinger, as well as images of newly restored theaters the New Amsterdam and the New Victory.