Balancing both the traditions of art history and the new trends of the present. Art History is the most comprehensive, accessible, and magnificently illustrated work of its kind.

    After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s have continually grown. Living in a secluded country house with his wife Josephine, he depicted the loneliness of big-city people in canvas after canvas. Probably the most famous of them, Nighthawks, done in 1942, shows a couple seated quietly, as if turned inwards upon themselves, in the harsh artificial light of an all-night restaurant. Many of Hopper's pictures represent views of streets and roads, rooftops, abandoned houses, depicted in brilliant light that strangely belies the melancholy mood of the scenes. Edward Hopper's paintings are marked by striking juxta-positions of color, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. In House by the Railroad, a harsh interplay of light and shadow makes the abandoned building seem veritably threatening. On the other hand, Hopper's renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.

    These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection—while comprehensive and authoritative—offers the reader some eclectic surprises as well.Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed.Kristine Stiles's general introduction is a succinct overview of artists' theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images.Reflecting the editors' shared belief that artists' own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp's Theories of Modern Art (with Peter Selz and Joshua Taylor) and Joshua Taylor's Nineteenth-Century Theories of Art, will be an invaluable resource for anyone interested in contemporary art."In New York in 1915 I bought at a hardware store a snow shovel on which I wrote 'in advance of the broken arm.' It was around that time that the word 'readymade' came to mind to designate this form of manifestation."—Marcel Duchamp (1961)"Women have always collected things and saved and recycled them because leftovers yielded nourishment in new forms. The decorative functional objects women made often spoke in a secret language, bore a covert imagery. When we read these images in needlework, in paintings, in quilts, rugs and scrapbooks, we sometimes find a cry for help, sometimes an allusion to a secret political alignment, sometimes a moving symbol about the relationships between men and women."—Miriam Schapiro and Melissa Meyer (1978)"I want to create a fusion of art and life, Asia and America, Duchampiana modernism and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the Nomadic Asians who crossed over the Bering Strait over 10,000 years ago."—Shigeko Kubota (1976)"Black for me is a lot more peaceful and gentle than white. White marble may be very beautiful, but you can't read anything on it. I wanted something that would be soft on the eyes, and turn into a mirror if you polished it. The point is to see yourself reflected in the names. Also the mirror image doubles and triples the space."—Maya Lin (1983)"Artists often depend on the manipulation of symbols to present ideas and associations not always apparent in such symbols. If all such ideas and associations were evident there would be little need for artists to give expression to them. In short, there would be no need to make art."—Andres Serrano (1989)

    In Paris, but above all in Provence, Cezanne quested tirelessly for "a harmony parallel to Nature"--discovering it in still lifes of apples, in bathers, or in the renowned landscapes of his beloved Montagne Sainte-Victoire. This book discusses this extraordinary artist's major works and his theories of painting and color. 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

    Page after page of rich reproductions capture his use of intense, glowing colors and the unique world he created full of magic, enchantment and fantasy.

    Winston Link travelled up and down the Norfolk and Western railroad, taking pictures of the trains, the towns and the people who lived and worked there. This book contains day and night photographs, with a text on the railroad's activities, Link's achievement and his life.

    Some 25 years after the poems were written Harp collaborated with clay artist Stephen Freedman to make the written poems visual in the form of sculpted, metaphorical clay vessels. This book is a catalogue which traveled with that exhibition.

    More than 135 color illustrations; 4 tear-out postcard sheets.

    Using detailed annotation of 45 works from the world's greatest artists, Art provides a deeper understanding and richer enjoyment of the masterpieces of painting.Great Art Made Accessible. This fascinating book takes an original approach to interpreting the lost language of art, using annotation to highlight everything you need to know to appreciate the world's favorite paintings, from Botticelli's The Birth of Venus to Picasso's Guernica. Art explains the artist's techniques and intentions and clarifies the meaning of obscure subjects, decoding the mysterious symbolism that can make even the most familiar painting elusive.Art is like a gallery full of the world's most spectacular paintings, including the devotional icons of the Gothic period and early Renaissance and the awe-inspiring achievements of the High Renaissance. It shows the splendor of the Baroque and Rococo, and scrutinizes the drama of the Neoclassicists and the Romantics. The enchantment of the Impressionist school and the complexities of the Cubist movement are also revealed in glowing color. Biographical notes on the artist place each work in its true personal and historical context.The book's generous size and faithful color reproduction allow every painting to be displayed accurately and in detail. At last, art lovers can truly enter the world of their favorite paintings.

    It analyzes his evolution from a painter of religious and mythological images to an artist who explored the psychological nuances of human endeavour.

    This is the first book to present a broad overview of the art of the Renaissance from Northern Europe within its historical context. KEY TOPICS: It includes well known works and artists as well as a diverse selection of novel and intriguing images. It discusses issues and ideas of interest today, such as the status of women, elite vs. popular inspiration, and art as an instrument of propaganda, among others and provides comprehensive coverage of the Netherlands, Germany, and France in the 15th and 16th centuries.

    The diversity is breathtaking: the rural pis? architecture of the south is a far cry from the Hispano-Mooresque ornamental beauty of the imperial cities. Moroccan Interiors are as endlessly varied as the country itself, from the restored palaces in the medina of Marrakesh (where aesthetes of the international set now live) to humble troglodyte fishermen's homes at Sidi Moussa d?Aglou. The colorful palette of this country and the light there themselves suffuse these very different homes with a vitality that is as distinctive to modern Morocco as it is a reflection of contemporary trends in d?cor worldwide. The author: Lisa Lovatt-Smith was born in 1967 in Barcelona of British parents. She has since lived in London, Madrid and Milan. At eighteen she began a meteoric career at the various international editions of Vogue. She has since decided to concentrate on writing in Paris, her chosen home, where she lives with her daughter.

    Egon Schiele's controversial nudes and self-portraits were fiercely reviled when they first appeared in the early decades of the twentieth century and, nearly one hundred years later, they still have the power to shock. Examining why Schiele's work elicits this response, the author explores the social constrictions of Schiele's generation and the role of the artist as a breaker of taboos. Incorporating superb reproductions of Schiele's works, those of his contemporaries, and historical photographs, the author offers a penetrating study of an artist whose idea of beauty transcended the morality of his time. Klaus Albrecht Schröder is Director of the Albertina Museum in Vienna, Austria.

    In these photographs, taken in Mexico from 1923 to 1930, Modotti attempted to merge art with politics, and her images mirror her partisan ideals and burgeoning social consciousness.

    Lippard, author of the highly original and popular Mixed Blessings, merged her art-world concerns with those of the then-fledgling women’s movement. In a career that spans sixteen books and scores of articles, catalogs, and essays on art, political activism, feminism, and multiculturalism, her engaging and provocative writings have heralded a new way of thinking about art and its role in the feminist movement.This new collection of previously published essays covers more than two decades of Lippard’s thinking on the ever-evolving definitions of feminist art, the convergence of high and low art, political and activist art, and the contributions of feminist theory to the politics of identity that infuses the production and exhibition of much of today’s fine and popular art.With a new introduction from the author, The Pink Glass Swan brings together selections from two of Lippard’s leading works, From the Center: Feminist Essays on Art and Get the Message?: A Decade of Art for Social Change, and numerous other articles written for newspapers, magazines, and art catalogs across the country.

    Like many of their contemporaries throughout the Nile Valley, these people embalmed their dead and then painted commemorative portraits of them, usually on wood or linen, to be placed over the mummies. Looking into the well-preserved, startlingly lifelike faces collected in this beautiful volume, one can trace the earliest roots of portraiture as it began in these Greco-Roman Fayum, or mummy, portraits, and continued through the Renaissance to the present. Despite their ancient history, the stylized portraits appear strikingly modern and painterly, with echoes of Modigliani and Matisse. Having experimented with them herself, Euphrosyne Doxiadis describes in detail the painting techniques and materials. Also included are fascinating notes on the clothing, jewelry, and hairstyles of the period.

    

    The book’s contributors—including bell hooks, E. Ethelbert Miller, Angela Davis, and others—examine the personal and public issues embedded in family portraits and news photographs, movie stills and mug shots.

    It also offers a narrative history, combining art historical, social and historical analysis, with stories about how the collection was acquired.

    Between the years 1922 and 1930, Neue Sachlichkeit-the New Objectivity'-exerted a decisive influence on the development of art, turning away from the main currents of avant-garde for the first time, to explore new avenues. It thus articulated the cultural ideals of Weimar Germany more precisely than Expressionism or the Bauhaus. In focusing on the society of the 1920s and the objective representation of the world around them, the artists of the New Objectivity offered a visual barometer of the lifestyle of their day, a factor that contributed to the popularity of the movement.

    Costumes by Karinska chronicles the life and work of this remarkably talented woman, a consummate perfectionist who brought unprecedented quality, innovation, and beauty to costumes designed and executed for film, theater, opera, and dance. Working behind the scenes as one of Balanchine's closest and most important collaborators, Karinska made an enormous contribution to many of the great ballet masterpieces of this century, dressing over seventy-five of the choreographer's productions. This was, however, by no means her only professional association in a career spanning forty-five years. She worked with many other renowned choreographers, producers, and directors, such as Frederick Ashton, Agnes de Mille, Bronislava Nijinska, Jerome Robbins, Louis Jouvet, Franco Zeffirelli, Mike Todd, Victor Fleming, and George Cukor. She took sketches by such artists as Andre Derain, Marc Chagall, Isamu Noguchi, Balthus, and Salvador Dali and transformed them into tangible, wearable apparel. The lively text by Toni Bentley, a former dancer with the New York City Ballet, is full of anecdotes from those who knew the designer, revealing a sophisticated, independent woman with great style and aristocratic flair. Also included in the book is a foreword by artist and dance aficionado Edward Gorey; an essay by Lincoln Kirstein, co-founder of the New York City Ballet, about Balanchine's Firebird (for which Karinska designed costumes based on sketches by Chagall); correspondence between Karinska and French actor/director Louis Jouvet; and a complete chronology of Karinska's career.

    This look at Monet's art is published to accompany a major exhibition at the Art Institute of Chicago: the largest retrospective of Monet to be held anywhere for 40 years. It presents 130 of his finest works, drawn from collections all over the world. Paintings from every period are included as well as a number of drawings and pastels that have not been published before. Documentary photographs and key works not included in the exhibition itself are also shown. To complement these illustrations, Stuckey has written a year-by-year chronology, documenting the artist's life in detail.

    Across the country in New York, opera patrons weep to the death scene of Madam Butterfly. These seemingly unrelated events intertwine in Cannibal Culture as Deborah Root examines the ways Western art and Western commerce co-opt, pigeonhole, and commodify so-called “native experiences.” From nineteenth-century paintings of Arab marauders to our current fascination with New Age shamanism, Root explores and explodes the consumption of the Other as a source of violence, passion, and spirituality.Through advertising images and books and films like The Sheltering Sky, Cannibal Culture deconstructs our passion for tourism and the concept of “going native,” while providing a withering indictment of a culture in which every cultural artifact and ideology is up for grabs—a cannibal culture. This fascinating book raises important and uncomfortable questions about how we travel, what we buy, and how we determine cultural merit. Travel—be it to another country, to a museum, or to a supermarket—will never be the same again.

    Featuring renowned artist-historian Don Troiani's careful research, painstaking attention to detail, and dramatic style.

    His Paris Street: Rainy Day and Floorscrapers -- each the subject of a fascinating, extensively illustrated analysis in this book -- have become icons of the Impressionists' devotion to scenes of modern urban life.Prepared by an international team of scholars to accompany the major 1994-95 retrospective organized by the Reunion des Musees Nationaux/Musee d'Orsay, Paris, and The Art Institute of Chicago, Gustave Caillebotte: Urban Impressionist reproduces 89 of his paintings and 28 of his drawings and studies, many of them from little-known private collections. Thoughtful essays examine both his work and his crucial role as an early patron and promoter of Impressionism. A chronology, list of exhibitions, and selected bibliography provide additional invaluable information.

    Take a tour with Jackie Robinson as she guides you through construction of your own "Wright window" in fabric using machine piecing methods. Directions are included for eighteen projects.

    The result is an unusual account of trends and lifestyles of times past as reflected in great works of art.

    However, in spite of its fame in literature and scholarship, there have been few attempts to analyze the Byzantine court in its entirety as a phenomenon. The studies in this volume aim to provide a unified composition by presenting Byzantine courtly life in all its interconnected facets.One important theme that unites these studies is the attention paid to describing the effects of a change in the social makeup of the court during this period and the reflection of these changes in art and architecture. These changes in social composition, mentality, and material culture of the court demonstrate that, as in so many other aspects of Byzantine civilization, the image of permanence and immutability projected by the forms of palace life was more apparent than real. As this new work shows, behind the golden facade of ceremony, rhetoric, and art, there was constant development and renewal.

    Photographs and other forms of pictorial imagery play an important role in these investigations. "Secure the Shadow" is an original contribution that lies at the intersection of cultural anthropology and visual analysis, a field that Jay Ruby's previous writings have helped to define. It explores the photographic representation of death in the United States from 1840 to the present, focusing on the ways in which people have taken and used photographs of deceased loved ones and their funerals to mitigate the finality of death.Sometimes thought to be a bizarre Victorian custom, photographing corpses has been and continues to be an important, if not recognized, occurrence in American life. It is a photographic activity, like the erotica produced in middle-class homes by married couples, that many privately practice but seldom circulate outside the trusted circle of close friends and relatives. Along with tombstones, funeral cards, and other images of death, these photographs represent one way in which Americans have attempted to secure their shadows.Ruby employs newspaper accounts, advertisements, letters, photographers' account books, interviews, and other material to determine why and how photography and death became intertwined in the nineteenth century. He traces this century's struggle between America's public denial of death and a deeply felt private need to use pictures of those we love to mourn their loss. Americans take and use photographs of dead relatives and friends in spite of and not because of society's expectation about the propriety of these means. Ruby compares photographs and other pictorial media of death, founding his interpretations on the discovery of patterns in the appearance of the images and a reconstruction of the conditions of their production and utilization.

    The princes who ruled these city-states, vying with each other and with the great European courts, relied on artistic patronage to promote their legitimacy and authority. Major artists and architects, from Mantegna and Pisanello to Bramante and Leonardo da Vinci, were commissioned to design, paint, and sculpt, but also to oversee the court's building projects and entertainments.The courtly styles that emerged from this intricate landscape are examined in detail, as are the complex motivations of ruling lords, consorts, nobles, and their artists. Drawing on the most recent scholarship, Cole presents a vivid picture of the art of this extraordinary period.

    Expert scholars and curators identify long-lost talent and reveal how these women were formidable cultural innovators as well as agitators for the rights of artists and women during a period of extraordinary development.Abundantly illustrated, with over one-hundred color plates, this book is a rich compendium of Western art by women, including those of Native American, African, Mexican, and Asian descent. The essays examine the many economic, social, and political forces that shaped this art over years of pivotal change. The West's dynamic growth altered the role of women, often allowing new avenues of opportunity within the prevailing Anglo culture. At the same time, boundaries of femininity were pushed earlier and further than in other parts of the country.Women artists in the West painted a wide range of subjects, and their work embraced a variety of styles: Realism, Impressionism, Symbolism, Surrealism. Some women championed modern art as gallery owners, collectors, and critics, while others were educators and curators. All played an important role in gaining the acceptance of women as men's peers in artistic communities, and their independent spirit resonates in studios and galleries throughout the country today.

    Here, the story continues through the fourth century B.C. to the days of Alexander the Great. The innovations of the period are discussed, such as the female nude and portraiture, along with many important monuments including the Mausoleum of Halicarnassus and several of the great names such as Praxiteles and Lysippus who were lionized by later generations. The volume also presents Greek sculpture made in the colonies of Italy and Sicily from the Archaic period onwards, as well as that made for eastern, non-Greek rulers. A final section considers the role of Greek sculpture in moulding western taste to the present day.

    Its treasures include paintings, sculpture, photographs, and crafts by renowned women artists from the Renaissance through this century and from four continents. Full-color illustrations.

    Dixon shows how paintings reflect changing medical theories concerning women. While she illuminates a tradition stretching from antiquity to the present, she concentrates on art from the thirteenth through the eighteenth centuries, and particularly on paintings from seventeenth-century Leiden.Bearing such titles as The Doctor's Visit and The Lovesick Maiden, certain seventeenth-century Dutch paintings are familiar to museum browsers: an attractive young woman--well dressed, but pale and listless--reclines in a chair, languishes in bed, or falls to the floor in a faint. Weathered crones or impish boys leer suggestively in the background. These paintings traditionally have been viewed as commentary on quack doctors or unmarried pregnant women. The first to examine images of women and illness in the light of medical history. Perilous Chastity reveals a surprising new interpretation.

    The Art Institute of Chicago houses one of the world's most beautiful and comprehensive collections of Japanese woodblock prints in the world. Clarence Buckingham, of the famed Chicago family, donated 12,000 prints alone. The book covers this exquisite collection of work from the seventeenth to nineteenth centuries in four sections: Primitives, Courtesans, Actors, and Landscapes. It includes work by well-known masters such as Hiroshige, Hokusia, and Utamaro, as well as lesser-known talents such as Shun'ei, Shunko, and Kiyonaga. While the trim size is small, none of the subtle colors, delicate paper texture, or intricate fabric design is lost.

    Based on the documentary material at the Musee Ingres, the text traces Ingres's life and work from his formative years in Rome. Georges Vigne analyzes the qualities that have stirred controversy over Ingres's paintings since his emergence as an artist in the first years of the 19th century, including Ingres's admiration of Raphael and early Italian painting, the remarkable nuances of line and bold colour combinations that earned him the designations such as primitive, the arresting eroticism of his images, and the participation of his devoted studio in his work.

    The first book of its kind, offerring an inside view of theatre today from the literary manager's point of view.

    From richly coloured watercolours of Medieval themes to oil paintings of beautiful women, Rossetti's works mirror his unconventional life and obsessions, in particular his idealized image of feminine beauty. Many works feature his highly sensuous oil paintings of the models with whom he often conducted tempestuous affairs, including Elizabeth Siddal, whom he eventually married and who died from a drug overdose; and Jane Burder, the wife of William Morris and the subject of the Rossetti painting that holds the world-record price for a Pre-Raphaelite subject.

    It is also, however, the art that relates most closely to our lives, both as reflection of our self-image and, in the words of Louis XIV, as the mirror of history. This text examines English and French fashion from 1750 to 1820 by studying the art of the period and it shows how changes in dress reflected social, political and cultural developments in the two countries.

    A fathomless source for literary exploration, Melville's masterpiece has also inspired a stunning array of book illustrations, prints, comics, paintings, sculptures, mixed media, and even architectural designs. Innovative and lavishly illustrated, Unpainted to the Last illuminates this impressive body of work and shows how it opens up our understanding of both Moby-Dick and twentieth-century American art.Deftly interweaving words with images, Elizabeth Schultz radically reframes our most famous literary symbol and provides a profoundly new way of reading one of the key texts in American literature. Ranging from the realists to the abstract expressionists, from the famous to the obscure, Schultz reveals how these artists have tried both to capture the essence of Moby-Dick's many meanings and to use it as a springboard for their own provocative imaginations.The most continuously, frequently, and diversely illustrated of all American novels, Moby-Dick has attracted some remarkable book illustrators in Rockwell Kent, Boardman Robinson, Garrick Palmer, Barry Moser, and Bill Sienkiewicz, among others represented here. It has also inspired extraordinary creations by such prominent artists as Jackson Pollock, Frank Stella, Sam Francis, Benton Spruance, Leonard Baskin, Theodoros Stamos, Richard Ellis, Ralph Goings, Seymour Lipton, Walter Martin, Tony Rosenthal, Richard Serra, and Theodore Roszak.The artists reflect in equal measure the novel's realistic (plot, character, natural history) and philosophical modes, its visual and visionary dimensions. Some, like the obsessed and haunted Gilbert Wilson, claim Moby-Dick as their Bible. Still others view the novel as a touchstone for feminist, multicultural, and environmentalist themes, or mock its status as a cultural icon.Schultz demonstrates how these and many other diverse talents enlarge our appreciation of Moby-Dick and how literature and art can amplify each other's meanings and achievements. Yet ultimately she, like Melville, concludes that the great white whale remains unpainted and unread in any absolute or final sense.

    But how and when did such issues come to be established and accepted sources of knowledge about the body in medical culture? How are the specialized techniques and codes of these imaging techniques determined, and whose bodies are studied, diagnosed and treated with the help of optical recording devices? "Screening the Body" traces the unusual history of scientific film during the late 19th and early 20th centuries, presenting material that is at once disturbing and engrossing. Lisa Cartwright looks at films like "The Elephant Electrocution". She brings to light eccentric figures in the history of the science film such as William P. Spratling who used Biograph equipment and crews to film epileptic seizures, and Thomas Edison's lab assistants who performed x-ray experiments on their own bodies. Drawing on feminist film theory, cultural studies, the history of film, and the writings of Foucault, Lisa Cartwright illustrates how this scientific cinema was a part of a broader tendency in society toward the technological surveillance, management, and physical transformation of the individual body and the social body. She frequently points out the similarities of scientific film to works of avant-garde cinema, revealing historical ties among the science film, popular media culture and elite modernist art and film practices. Ultimately, Cartwright unveils an area of film culture that has rarely been discussed, but which will leave readers scouring video libraries in search of the films she describes.

    Each volume is a visual resource with over 300 full-color illustrations, telling the story of a single artist with a look at the artist's life, the context in which he worked, and an analysis of his masterpieces.

    Also explained and illustrated are lenses and their accessories, motor drives, films, flashes, filters, slides and slide projectors, and more. Includes black and white and color photographs and drawings to illustrate proper use of equipment and various techniques, effects, and possibilities that produce successful photographs with the best possible image quality.The medium format is truly the format in the middle. It combines many of the benefits of 35 mm photography with those of the large format, making a medium format system an excellent choice for almost all types of photography from candid action with a hand-held camera to critical studio work from a tripod. Special chapters are devoted to these different applications and the type of equipment that most likely meets your photography needs. This book explains clearly the medium format's benefits, advantages, and disadvantages and provides a comparison of the medium format to other formats so you can decide whether it is right for you and your photography.*The definitive book on medium format, cameras and technique, the most commonly used format of commercial photography*New material on panoramic format, apochromatic lenses, aspheric lenses, tele extenders, glass and relative illumination, and motor drives*Updated information on perspective control, tilt controls, built in metering systems, and use of apertures.

    His drawings, which are practically all that remains of his work, include revolutionary cityscapes with setback skyscrapers, overpasses for pedestrians, and traffic lanes; power plants that express both admiration for science and a lingering need for lyricism; and futurist stations for trains and airplanes dramatized by bold, kinetic facades.This handsome book is the most comprehensive account of Sant'Elia's work ever written. Esther da Costa Meyer analyzes his dazzling designs, decoding his "high-tech" imagery and showing how he was influenced not only by the futurist movement but also by other international currents that wove through Milanese culture - such as symbolism, art nouveau, and the Vienna Secession - as well as visual culture and industrial architecture. Da Costa Meyer also covers Sant'Elia's short life, his career as a socialist, and the posthumous cult that grew around him during Italy's fascist regime.

    His works found their way into nearly a quarter of homes across the country in the 1920s. The bold, blue color he created for skies and water has since become known as "Parrish Blue." Parrish's paintings combine romanticism, bold colors, dramatic lighting and classical costumes that have become synonymous with his style. In Maxfield Parrish Masterworks, biographer Alma Gilbert celebrates the artist's career and shows us some of his greatest creations. Notes: Maxfield Parrish was as influential to art as Frank Lloyd Wright to architecture. Parrish's lush oil paintings come to life in this unique collection on his work. Paintings in the 2004 edition of the calendar include: Dinkey Bird, Young Girl in a Landscape, Wild Geese, Millpond, Ecstasy, Land of Make Believe, Knave Watching Violetta Depart, Evening Shadows, Alphabet, October 1900, Vigil at Arms, and Getting Away From It All. Alma Gilbert owns the Cornish Colony Gallery & Museum and has written several books on Maxfield Parrish and his life at the Mastlands. She has created text to accompany each image in this wall calendar. and has worked with Tide-mark on The Cornish Colony Book of Days for 2003, which also features Maxfield Parrish's work.

    It examines her youth, her life abroad, and her friendship with such influential figures as Marcel Duchamp, Charles Demuth and Alfred Stieglitz.

    From 1900 on, he created a flower garden and water-lily pond on his property in Giverny, that formed the focus of his art until his death.

    The fabric designers of the Art Nouveau style who exhibited at the Paris Salons produced a remarkable oeuvre in printed and woven fabric, silk, lace, embroidery and tapestry. Bookbinding was, and still is, a well-established French tradition, and bibliophiles commissioned unique bindings from artist-designers who, at the same time, were also creating and exhibiting non-bound leather goods - handbags, blotters, upholstery. This volume is probably the most important in the series. Because of wear and tear, practically none of the approximate 1,200 textile and leatherware pieces illustrated have survived outside museum collections or appeared at auction, unlike the items covered by the earlier volumes.

    It discusses not only the most famous monuments - such as the cathedrals of Chartres, Amiens, and Reims, Westminster Abbey, and the Siena Duomo - but also less familiar buildings in France, England, Italy, Germany, Spain, and Scandinavia. A synthesis of new research, interpretations, methodologies, and insights that have evolved over the last twenty years, the text is accompanied by hundreds of illustrations, including many photographs taken specially for the book. Together the text and the images provide a strikingly beautiful and authoritative survey for students and the general reader.

    Pissarro's comments on life, politics, and literature are pungent and fascinating, but it is when he communicates to Lucien his own views on art that these letters take on their highest importance as a unique and illuminating document on Impressionism.

    They can and should be read in many ways. Since their publication in the mid-16th century, they have been a source of both information and pleasure. Their immediacy after more than four hundred years is a measure of Vasari's success. He wished the artists of his day, himself included, to be famous. He made the association of artistry and genius, of renaissance and the arts so familiar that they now seem inevitable. In this book Patricia Rubin argues that both the inevitability and the immediacy should be questioned. To read Vasari without historical perspective results in a limited and distorted view of The Lives.

    Reading these settings performatively, Carol Mavor shifts the focus toward the subjectivity of these girls and women, and toward herself as a writer.Mavor’s original approach to these photographs emphatically sees sexuality where it has been previously rendered invisible. She insists that the sexuality of the girls in Carroll’s pictures is not only present, but deserves recognition, respect, and scrutiny. Similarly, she sees in Cameron’s photographs of sensual Madonnas surprising visions of motherhood that outstrip both Victorian and contemporary understandings of the maternal as untouchable and inviolate, without sexuality. Finally she shows how Hannah Cullwick, posing in various masquerades for her secret paramour, emerges as a subject with desires rather than simply a victim of her upper-class partner. Even when confronting the darker areas of these photographs, Mavor perseveres in her insistence on the pleasures taken—by the viewer, the photographer, and often by the model herself—in the act of imagining these sexualities. Inspired by Roland Barthes, and drawing on other theorists such as Julia Kristeva and Luce Irigaray, Mavor creates a text that is at once interdisciplinary, personal, and profoundly pleasurable.

    These three essays place Panofsky's genius in a different perspective: What Is Baroque?, Style and Medium in the Motion Pictures and The Ideological Antecedents of the Rolls-Royce Radiator. The essays are framed by an introduction by Irving Lavin, discussing the context of the essays' composition and their significance within Panofsky's oeuvre and an insightful memoir by Panofsky's former student, close friend and fellow emigre, William Heckscher.

    Lowry's matchstick men have become one of the most readily recognised images in 20th-century British art. His vivid and faithful portrayal of the industrial north has led to his adoption as the people's artist, though art historians and critics have sought for years to analyse his significance and appeal.

    An ensemble dominated by bronze percussion instruments that dates back to the twelfth century in Java, the gamelan as a musical organization and a genre of performance reflects a cultural heritage that is the product of centuries of interaction between Hindu, Islamic, European, Chinese, and Malay cultural forces.Drawing on sources ranging from a twelfth-century royal poem to the writing of a twentieth-century nationalist, Sumarsam shows how the Indian-inspired contexts and ideology of the Javanese performing arts were first adjusted to the Sufi tradition and later shaped by European performance styles in the eighteenth and nineteenth centuries. He then turns to accounts of gamelan theory and practice from the colonial and postcolonial periods. Finally, he presents his own theory of gamelan, stressing the relationship between purely vocal melodies and classical gamelan composition.

    The influx of emigre artists, such as Eliel Saarinen, Josef Albers, Gertrud and Otto Natzler and Paul T. Frankl, with the landmark 1925 Art Deco exposition in Paris, the Bauhaus, and the World of Tomorrow exhibition at the 1939 New York World's Fair, all contributed to the shift from the handmade objects of the Arts and Crafts Movement to the streamlined, geometric forms of modernism.

    This volume, which accompanies a major exhibition of Copley's work organized by the Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Boston, focuses on the paintings, miniatures and pastels which Copley produced before he moved to London in 1774.

    From Patagonia to Peking, the South Seas to the Sahara, western artists have played a vital role in the exposure of unfamiliar lands. From Jacques Le Moyne's paintings of Florida in 1564 to the development of portable cameras in the late-19th century, artists were a habitual feature of explorational, scientific and diplomatic voyages. The works of these travelling artists were at first appreciated more for their scientific value than for artistic merit. By the 18th century, however, painters such as William Hodges began to regard exotic journeys as an alternative to the European Grand Tour. With the 19th-century fashion for Orientalism, adventurous travel and great art were no longer regarded as mutually exclusive. This book looks at the ways in which travelling artists influenced early western attitudes towards distant lands, and examines how far the artists' own vision of these places was distorted, affected by factors as diverse as changing artistic fashions, the demands of colonial propaganda and the frequent need to work from memory. Jacob's text contains many anecdotes relating to the lives of these people. The illustrations form a visual record of the lands visited and include a large number of formerly little-known works.

    The author claims that sectarianism dominated women's philanthropic activity, and analyzes the work of women in areas of moral reform, such as prostitution and prison work. The book concludes that the most progressive developments in the care of the poor were brought about by nonconformist women who were later to become pioneers in the cause of suffrage.