A visual representation of an extraordinary artistic career, that simultaenously brings to life the spirit of a whole era.The author: Daniel Wildenstein (1917-2001) was an art historian and member of the Académie des Beaux-Arts (Paris). From 1939 onwards, he was Director of the Wildenstein Galleries of New York, London, and Tokyo. He edited several international journals, e.g. the magazine Arts from 1956-1962 and the Gazette des Beaux-Arts after 1963. He co-founded the Fondation Wildenstein in 1970 (it was renamed the Wildenstein Institute in 1984), and was a prime mover in many exhibitions of international repute. Daniel Wildenstein also edited the catalogues raisonnés of various 18th, 19th, and 20th century artists. He was a world authority on Impressionism, and published catalogues of the works of Gauguin, Manet, and Monet.

    One of the giants of the twentieth century, Marcel Duchamp changed the course of modern art. Visual arts, music, dance, performance--nothing was ever the same again because he had shifted art's focus from the retinal to the mental. Duchamp sidestepped the banal and sentimental to find the relationship between symbol and object and to unearth the concepts underlying art itself. The author's intimacy with the subject and glorious prose style, wit, and deep sense of irony--"the only antidote to despair"--make him the perfect writer to bring this stunning life story to intelligent readers everywhere.

    People expected painting, sculpture, architecture, and other forms of visual art to have a meaningful effect on their lives, " write the authors of this important new look at Italian Renaissance art. A glance at the pages of Art in Renaissance Italy shows at once its freshness and breadth of approach, which includes thorough explanation into how and why works of art, buildings, prints, and other kinds of art came to be. This book discusses how men and women of the Renissance regarded art and artists as well as why works of Renaissance art look the way they do, and what this means to us. It covers not only Florence and Rome, but also Venice and the Veneto, Assisi, Siena, Milan, Pavia, Padua, Mantua, Verona, Ferrara, Urbino, and Naples -- each governed in a distinctly different manner, every one with its own political and social structures that inevitably affected artistic styles. Spanning more than three centuries, the narrative brings to life the rich tapestry of Italian Renaissance society and the art works that are its enduring legacy.

    As an artist, the scandalous Modigliani made his name chiefly with his celebrated pictures of women, with almond eyes and long necks and bodies. His style had ancient roots that lay deep in classical antiquity or Africa. But his portraits of intellectual giants of the age, friends such as Pablo Picasso, Jean Cocteau or Diego Rivera, were inimitable also. In Doris Krystof's study, the scene Modigliani was the hero of comes alive, and his sensitive paintings and sculptures speak in tongues.

    Bacon was also a legend in the London demimonde, a man who followed long nights of drinking, gambling, and sexual adventure with intense early morning encounters with the blank canvas.When Michael Peppiatt first met him in 1963, Bacon, then in his early fifties, was at the height of his powers. Over the next thirty years, Peppiatt became a close friend of Bacon's and one of his most perceptive critics, and he has produced a fascinating, disturbing portrait of this agonized modern artist.Bacon (1909–92) was raised in large country houses in rural Ireland by a family whose conventional expectations he rebelled against early on. As a young man he was introduced to the seamy side of life in London and Paris; but only after seeing a Picasso retrospective in 1928 did he become an artist. He sprang into prominence in 1944 with a triptych which shocked the art world with its sheer ferocity, and he soon emerged, with his friend Lucian Freud, as a leader of an informal “School of London,” which favored figurative painting in an age dominated by abstraction.As retrospectives of Bacon's work in Paris, London, and New York made his reputation soar, his nighttime exploits grew wilder and wilder; charming and confident, with a strong sadomasochistic streak, he was drawn to “rough trade” in London clubs and pushed all situations to the edge. At the same time, he was a deeply cultivated and thoughtful artist who was obsessively guarded about the sources of his inspiration.Peppiatt has unlocked many of the enigmas of Bacon's life and work. Bacon talked openly to Peppiatt about his early life, his sexuality, his fantasies, and his ambitions, aware that all was being recorded for publication. At the suggestion that some of his remarks would sound indiscreet, Bacon replied: “The more indiscreet, the more interesting it will be.” Together with many new facts, unpublished documents, and penetrating analyses of key paintings, these conversations have been integrated into what is the most complete and riveting account of one of the greatest artists of our time.

    Among the first to value and collect such works was the French artist Jean Dubuffet (1901-85), who coined the term Art Brut, or 'raw art'. He saw Art Brut as the purest form of creation because it was 'uncooked' by culture, touched by a raw nerve and deriving directly from the psyche. Some 50 years later, a wave of enthusiasm for contemporary folk art has gripped countries as far apart as India and the United States. John Maizels ties these disparate strands together, providing an extensive survey of the self-taught art of the twentieth century. Today a bewildering range of terminology has emerged, along with growing enthusiasm, for strains of creative expression outside the conventional art world. In Raw Creation, Maizels traces the history of the recognition and study of this art and examines different theories and definitions that have grown up around it. He provides detailed expositions of the work of individual artists ranging from such Art Brut masters as Adolf Wolfli and Aloise Corbaz, to such gifted American folk artists as Bill Traylor and Mose Tolliver. Devoting several chapters to large-scale visionary environments, Maizels takes a broad view, embracing Rodia towers in Watts, Los Angeles, the Palais Idéal in the South of France and Nek Chand's sculpture garden in north India. Raw Creation provides an indispensable guide to self-taught art and a fascinating account of human creativity.

    They were, as Picasso once said, "North Pole, South Pole."The work of Henri Matisse (1869-1954) is a sensous hymn to colour, that wild yet subtle colour which he tamed, mastered and managed, and which expressed his feelings towards women and the world. Colour was the tool with which he controlled line, arabesque, volume, light transparency, reflection and space, and though he did not shrink from pushing his creativity to the verge of abstraction, he never succumbed to it entirely. It was an approach well noted by America's Abstract Expressionists.This new and carefully conceived freedom marked not only the extraordinary significance of the painter and sculptor Matisse in the history of modern art, but also his influence, which was no less decisive than that of his main rival, Pablo Picasso. In fact, Matisse's stylistic liberation actually goes one step further in the pursuit of his own personal goal - the perfect synthesis of line and colour - by which he sought revolutionary approaches to the great tradition of French painting by drawing upon its classical aspects.

    Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today.After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s; Foster suggests that we are now witness to a return to the real; to art and theory grounded in the materiality of actual bodies and social sites; If The Return of the Real begins with a new narrative of the historical avant-garde; it concludes with an original reading of this contemporary situation; and what it portends for future practices of art and theory, culture and politics.

    This text provides an analysis of the scroll dating from the late 15th or early 16th century, and aims to throw light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the 10th and 16th centuries. It compares the Islamic understanding of geometry with that found in medieval Western art.

    Out of Order, Out of Sight is an artistic and intellectual autobiography and an (occasionally scathing) commentary on mainstream art, art criticism, and American culture of the last twenty-five years. Piper is an internationally recognized conceptual artist and the only African American in the early conceptual art movement of the 1960s. The writings in Out of Order, Out of Sight trace the development of her thinking about her artwork and the art world, and her evolving awareness of herself as a creative, racial, and gendered subject situated in an often limiting and always absurd cultural and social context.

    Over 400 color illustrations show how each developed their own style and techniques.

    The existential anxiety of modern man, the inescapability of death, and the catastrophe of loneliness are some of the themes that we revisited time and again in Francis Bacon's work. In this comprehensive study of one of the twentieth century's most passionately committed artists, Wieland Schmied offers a thoughtful overview of Bacon's life, analyses his paintings, and examines the creative processes they embody. He explores in depth Bacon's subtle use of space, the development of his imagery, idiosyncratic painting technique, and place in the pantheon of twentieth-century artists. The author was a close friend and confidante of the artist. This book includes many private photographs of Bacon in his studio. There is an increasing interest in Francis Bacon - exhibition just ended at The Scottish National Gallery of Art (September 2005).

    This book, commemorating the 125th anniversary of Parrish's birth, presents paintings and drawings that embody his extraordinary accomplishments. Included are over 130 color plates and more than 30 black-and-white illustrations and historical photographs; an essay by Joanna Maxfield Parrish, the artist's grand-daughter; and text by Laurence S. Cutler and Judy Goffman Cutler of the American Illustrators Gallery in New York City.

    In turn, the 1980s ushered in a second wave of new movements—neoexpressionism, media deconstruction, and commodity art. Sandler also discusses postmodernist art theory, the art market, and consumer society, providing an essential framework for understanding the art of this period.Unlike his previous books, Art of the Postmodern Era includes both American and European artists.

    This volume traces the history of painting from medieval times to modern times with a focus on each era and its major artists.

    The New York Observer said, In the wonderfully readable text . . . we are put in very intimate touch with the artist's own sensibility. . . . This is a book notto be missed. 324 illustrations, 121 in full color. 2 gatefolds.

    In the decade and a half since her death, a new generation of scholars has focused its attention on her elegant dissection of the representation of women in the mass media during the Weimar era. Here, in the first comprehensive survey of her work by an American museum, authors Peter Boswell, Maria Makela, and Carolyn Lanchner survey the full scope of Hoch's half-century of experimentation in photomontage - from her politically charged early works and intimate psychological portraits of the Weimar era to her later forays into surrealism and abstraction. This beautifully designed catalogue presents more than l00 color plates and offers new insights into the life and career of this extraordinary artist.

    It is also a personal record of how Roland L. Freeman's life has intertwined with the world of quiltmaking for almost sixty years--"as an African-American male; as a child who was deeply influenced by the cultural traditions and magical powers of quilts; and, for more than three decades, as a photographer and folklorist."Included are the fascinating stories of a remarkable range of individuals, old and young, women and men, including Rosa Parks, Maya Angelou, Sonia Sanchez, Alice Walker, Nikki Giovanni, Bernice Johnson Reagon, and Faith Ringgold.Organized chronologically, the book begins with Freeman's childhood years in the 1940s. "Quilts were special, even magical to me," he says. "They could heal and they could curse; they could capture history and affect the future; they could transform pain to celebration."

    Medieval Death is an absorbing study of the social, theological, and cultural issues involved in death and dying in Europe from the end of the Roman Empire to the early sixteenth century.

    Anne Wagner looks at their imagery and careers, relating their work to three decisive moments in the history of American modernism: the avant-garde of the 1920s, the New York School of the 1940s and 1950s, and the modernist redefinition undertaken in the 1960s. Their artistic contributions were invaluable, Wagner demonstrates, as well as hard-won. She also shows that the fact that these artists were women—the main element linking the three—is as much the index of difference among their art and experience as it is a passkey to what they share.

    From the initial brief to the often award-winning outcome, here are more than a hundred of Fletcher's design solutions. Grouped into thematic chapters for instructive reference, the projects demonstrate his lithe and lateral jumps, his skills and techniques and his ability to fuse interpretation, aesthetics and function with apparent ease. The commentary shows how each graphic idea was developed, giving insights both into the individual project and into the way in which the design process can be manipulated.

    This book, published in hardcover in 1996 to critical acclaim, offers the widest selection available in print of Balthus's work. The author, Balthus's son, contributes a new introduction to this expanded paperback edition, which features two additional works: Balthus's last painting, The Waiting, and the controversial Guitar Lesson of 1934. A unique collection of rare personal photographs, including images by the famed photographer Henri Cartier-Bresson, completes this tribute to one of the great artists of recent times.

    Petersburg was a utopian vision in the mind of its founder, Peter the Great. Conceived by him as Russia's "window to the West," it evolved into a remarkably harmonious assemblage of baroque, rococo, neoclassical, and art nouveau buildings that reflect his taste and that of his successors, including Anna I, Elizabeth I, Catherine the Great, and Paul I.Crisscrossed by rivers and canals, this "Venice of the North," as Goethe dubbed it, is of unique beauty. Never before has that beauty been captured as eloquently as on the pages of this sumptuous volume. From the stately mansions lining the fabled Nevsky Prospekt to the magnificent palaces of the tsars on the outskirts of the city, including Peterhof, Tsarskoe Selo, Oranienbaum, Gatchina, and Pavlovsk, photographer Alexander Orloff's portrait of St. Petersburg does full justice to the vision of its founder and namesake. The text, by art historian Dmitri Shvidkovsky, chronicles the history of the city's planning and construction from Peter the Great's time to the reign of the last tsar, Nicholas II. Anyone who has ever visited--or dreamed of visiting--the city of "white nights" will find St. Petersburg irresistible.

    Filled with graphic black-and-white photos and illustrations.

    In his newest book, Coming Into Being: Artifacts and Texts in the Evolution of Consciousness, he takes the reader on a journey through the evolution of consciousness from the preverbal communications of early stone carvings, to the writings of Marcel Proust, around the monumental wrappings of Christo and up to the rebirth of interest in the Taoist philosophy of Lao Tzu. Owing as much to the rhythmic constructions of jazz as to established methods of scholarship, Thompson plays a riff on biology and culture seeing the birth of the mind in Proust's Madeleine, the displacement of humanity in Christo's wrapping of the Reichstag and, in Lao Tzu's Tao Te Ching, the path forward to a new planetary culture. In Coming Into Being, William Irwin Thompson presents a fascinating vision of our past, our present, and our future that no one will want to miss.

    Ranging from the oldest known human artifact, circa 1.6 million BC, to pieces made within living memory, the objects collected in this extraordinary volume reflect a continent of enormous cultural and historical scope. Arranged chronologically within seven geographical sections, it offers an astonishing array of sculptures in wood, bronze, stone, and gold, as well as rock paintings, ceremonial pieces, ceramics, jewelry, and textiles culled from private and public collections around the world. Commentary by renowned scholars illuminates the cultural and historical significance of these pieces, and in-depth authoritative texts highlight critical aspects of each region. Together these words and images take readers on an artistic grand tour through a continent of unparalleled diversity, and towards the thrilling discovery of not one Africa, but many.

    These exhibition galleries are depicted in this book, from a Roman bedroom excavated near Pompeii and a Louis XVI grand salon from 18th-century Paris to the Frank Lloyd Wright room in the museum's American Wing. Photographs of 35 installations - some actual room taken from historic buildings and some re-creations intended to show related works of decorative art in an authentic setting - offer a grand tour through the history of interiors.

    Pavel Machotka has photographed the sites of Cezanne's landscape paintings - whenever possibe from the same spot and at the same time of day that Cezanne painted the scenes. Juxtaposing these colour photographs with reproductions of the paintings, he offers a range of evidence to investigate how the painter transformed nature into works of art.

    These 17 scholars, critics, and curators provide an exciting and challenging new assessment of 20th-century Latin American art. 310 illustrations, 300 in color.

    The book describes the life of the artist and includes 120 colour reproductions of his best-known and best-loved paintings.

    In this second volume, the focus is the human body as a carrier of deep psychological insights and sacred meanings. Whether idolized or abused, the body is the object of much fascinated attention, even obsessive preoccupation, in the contemporary Western world. What has been missing from our culture's preoccupation is an appreciation of the body's organs as symbols of the deepest contents of the human psyche. This book surveys the richness of meaning found in a wide range of beautiful sacred images from the world's traditions and explains what the symbolism of our physical form teaches us about the inner realities of our consciousness, spirit, and divine essence.

    This far-ranging book by the leading scholars in the field offers new information and ideas about many aspects of Mackintosh's work: his famous tea rooms, his distinctive furniture, and his evocative paintings. In addition, individual chapters are devoted to his two most remarkable surviving buildings, Glasgow School of Art and The Hill Houseboth illustrated with specially commissioned color photographs. The authors also provide a fresh and thoughtful look at Mackintosh's context in turn-of-the-century Glasgow and London while revising many of the myths that have long obscured his life and career. His extensive collaboration with his wife, Margaret Macdonald, and his working relationships with his mentors and patrons receive enlightening scrutiny as well. This authoritative volume - which accompanies a major retrospective with an international tour, organized by the Glasgow Museums - also contains an extensive chronology, a cast of characters, a selected bibliography, and an appendix of the Mackintosh buildings and interiors that are still in existence.

    Arranged alphabetically by artist, each page contains an illustration of one of each artist''s best-known or most interesting works.'

    A source of inspiration to many great painters, such as Titian, Rembrandt, and Manet, printmaking has established its own criteria of aesthetic excellence as well as its own expressive language, both of which are explored here. Scholars and print collectors will find in this well-written and generously illustrated book a valuable reference, students a lucid survey, and art lovers an informative introduction to the history of the print in Europe and America.    More than 700 illustrations, forty-nine of them in color, show the evolution of the relief, intaglio, planographic, and stencil processes through the centuries. Giving detailed treatment to the work of five master printmakers—Albrecht Dürer, Rembrandt van Rijn, Francisco Goya, Pablo Picasso, and Jasper Johns—the book also discusses in depth numerous other artists, such as Martin Schongauer, Andrea Mantegna, Hendrik Goltzius, Jacques Callot, Giovanni Battista Piranesi, William Hogarth, Honoré Daumier, Edouard Manet, Paul Gauguin, Edvard Munch, Käthe Kollwitz, Max Ernst, and Andy Warhol. Although its primary focus is the fine-art original print, The Print in the Western World also addresses in detail the reproductive tradition in printmaking that reached its peak in the eighteenth century and touches on book illustrations, posters, political satires, and vernacular prints such as chromolithographs.    Author Linda C. Hults emphasizes the meaning and historical context of prints, the consequences of the print's accessibility to many strata of society, and the relationship among artist, context, subject matter, and technique. The volume includes a glossary of basic printmaking terms, as well as full bibliographies at the end of each chapter, giving readers access to a wide range of recent scholarship on prints.

    This handsome book considers Munch's graphic work through the lens of an extraordinary private collection that includes outstanding impressions of virtually every one of his major prints, along with alternate versions and early states. The book underscores the technically experimental nature of Munch's Symbolist prints and demonstrates the great themes of love and death that characterize his fin de siècle imagery.Elizabeth Prelinger discusses Munch as a Symbolist printmaker, providing background on Munch as a graphic artist and exploring how he devised innovative methods to fuse technique and meaning in his Symbolist themes. Michael Parke-Taylor reconstructs the reception of Munch's art in America, tracing a reputation that continues to grow a half century after the artist's death. Peter Schjeldahl poetically evokes Munch's work and accounts for the artist's rock star-like career then and now, and tells how Munch has entered popular consciousness and how he is relevant to a contemporary audience. These essays are accompanied by a detailed catalogue of the fifty-eight prints in the collection, as well as reproductions of the paintings that relate to the prints and many documentary and comparative illustrations.

    It concentrates on the evidence provided by portraits, reliefs, wall-paintings, architecture and decorative arts. The catalogue entries describe more than 180 works, and seven essays-by Natalie Kampen, Klaus Fitschen, Andrew Wallace-Hadrill, Susan Treggiari and others-discuss gender theory, portraits of empresses and princesses, the portrayal of women as goddesses and women's roles in society, the home, literature and artistic patronage.

    This is her story of a woman who pursued her art despite the restrictions placed on her as an African American-woman.

    How did the artist figure the inevitable and how was the fact of death, emblematized in the painted corpse, made to work as a social sign of cadaverous presence in the absence of life. Camille argues that the medieval world perceived death as larger than life, that death was implicit at birth and stretched beyond the end of life to the resurrection of the body at the last Judgement. Each of Camille's chapters, framed by an imagined account of the illuminator's last hours and illustrated with examples of his art follows this inexorable path of death. Camille describes the theological origins of death and its physical beginnings at birth. He shows how representations of death shaped medieval notions of the historical past. In this period, people were constantly preparing themselves for death, as shown by Remiet's striking image of the figures of Death waiting at the end of the pilgrimage of human life. Remiet's frequent depiction of the rotting corpse reveals his society's dreaded anticipation of the end of time when, reawakened in the flesh, each individual would face the threat of an eternal and terrifying second death.

    New photography and archival pictures trace the development of the Bulgari style, a distinctive look that has captivated royalty, movie stars, and others for more than a century. Since its start in Rome in 1884 - and throughout its years of expansion through shops from Los Angeles to New York, from Madrid and Athens to Jeddah and Hong Kong - the Bulgari firm has launched trends and revivals. In this volume, detailed chapters examine a range of successful innovations such as the easy-to-wear everyday jewels made with precious gems, the powerful modular units combined in repeating patterns, and the recent trademark Bulgari wristwatches.

    World-famous masterpieces by artists such as Leonardo da Vinci, Michelangelo, Raphael and Caravaggio are shown alongside works from the private rooms of the Papal apartments. Presented in chronological order from the 11th to the 18th centuries, the book gathers works from all three of the collections that constitute the Vatican Museum - the museum proper, the Vatican Library and portions of the Vatican Palace. Introductory essays by members of the Vatican's professional staff place the works in context and a fold-out of Michelangelo's recently restored Sistine Chapel ceiling is also included.

    Today's emphasis on the period's complexity—the way ideas, politics, religion, society, art, and science depend upon and affect one another.The Renaissance Complete brings the image to center stage. More than 1,000 illustrations focus on over 100 key topics, including the revival of classical learning, the printing press, the rise of the nation-state, philosophy, and the role of women. The scope is all-embracing: Italy, France, Spain, Britain, Germany, and the northern countries; courts and patrons; painters and sculptors; churchmen and traders; men, women, and children. An impressive information resource provides biographies, timelines, a gazetteer of museums and galleries, and an illustrated glossary.

    In accounts of her role as an artist, she was simultaneously flattered as a charming woman and vilified as monstrously unfeminine. In The Exceptional Woman, Mary D. Sheriff uses Vigée-Lebrun's career to explore the contradictory position of "woman-artist" in the moral, philosophical, professional, and medical debates about women in eighteenth-century France. Paying particular attention to painted and textual self-portraits, Sheriff shows how Vigée-Lebrun's images and memoirs undermined the assumptions about "woman" and the strictures imposed on women.Engaging ancien-régime philosophy, as well as modern feminism, psychoanalysis, literary theory, and art criticism, Sheriff's interpretations of Vigée-Lebrun's paintings challenge us to rethink the work and the world of this controversial woman artist.

    She focuses on the personal and professional relationships between seven pairs of artists: Degas and Manet, Monet and Renoir, Cé zanne and Pissaro, Manet and Morisot, Cassatt and Degas, Morisot and Renoir, and Cassatt and Renoir. Looking at the work of each pair, she finds, in their treatment of identical subjects and in their portraits of each other, a new illumination of their art and lives...how they relied on each other for comradeship, support, inspiration, ideas, and techniques...how they were bound by the ties of friendship...and how, at times, these same associations could include envy, antagonism, and even deep dislike.To tell this story Barbara Ehrlich White has assembled hundreds of illustrations, scores of which are reproduced here in full color for the first time. All the canvases the artists painted of identical subjects are reunited side by side in this volume--many for the first time since they were created more than a century ago. Moreover, in another publishing first, Impressionists Side By Side includes all the artists' portraits of one another, a marvelous means of conveying the emotional truth of their relationships. And, by delving into hundreds of letters (some previously unpublished, some appearing in English translation for the first time), diaries, and interviews, the author enriches our sense of the artists' lives on the most intimate level.Twelve years in the making, Impressionists Side by Side is a singular contribution to the world of art, presenting the lives and work of some of the mostimportant Impressionist artists in a dramatic new context.

    Fascinating study of geisha, courtesans, kabuki performers as portrayed by masters of Japanese art from 1600 to 1868.

    Beginning with the intellectual and institutional history, and the cultural politics, of American underground cinema, this work moves to the filmmakers' work - Anger's taste for ornamentation, stylistic excess, and hot-rod and motor-cycle subcultures; Smith's interest in 1920s and 40s movie glamour and decaying urban landscapes.

    Among the works represented in this colorful and compact survey of the Gallery's collection are masterpieces by Sandro Botticelli, Leonardo da Vinci, Michelangelo, Raphael, Titian, Rembrandt, Peter Paul Rubens, Claude Monet, Vincent van Gogh, Edgar Degas, and Paul Cézanne, as well as some lesser-known delights. Located on Trafalgar Square, in the heart of London, the original Wilkins Building has recently been extended by the handsome new Sainsbury Wing, which contains some of the world's greatest paintings.

    Russell examines the colorful life and times of Montana’s famed Cowboy Artist. Born to an affluent St. Louis family in 1864, young Russell read thrilling tales of the West and filled sketchbooks with imagined frontier scenes. At sixteen he left home and headed west to become a cowboy. In Montana Territory he consorted with cowpunchers, Indians, preachers, saloon keepers, and prostitutes, while celebrating the waning American frontier’s glory days in some 4,000 paintings, watercolors, drawings, and sculptures. Before his death in 1926, Russell saw the world change dramatically, and the West he loved passed into legend. By then he was revered as one of the country’s ranking Western artist with works displayed in the finest galleries, his romantic vision of the Old West forever shaping our own.Taliaferro reveals the man behind the myth in his multifaceted complexity: extraordinarily gifted, self-effacing, charming, mischievous, and playful, a friend to rough frontier denizens and Hollywood stars alike. The author also explores Russell’s controversial partnership with his fiery young wife, Nancy, whose ambition and business savvy helped establish Russell as one of America’s most popular artists.

    

    The popular BBC-TV personality (and Carmelite nun) inspires readers to discover that holiness is a way of life open to all. Includes 31 full-color illustrations.

    This work is an overview of the work and world of La Tour. It traces his development from the early, realistic daylight works to his nocturnal scenes.

    This engaging pictorial study reveals in-depth these two generations of artists, naturalists, and civic leaders. A combination of essays explores major historical subjects from the perspective of this exceptional family, including the impact on artists of changing political and social ideas, the nature of the family in America, and the uses and functions of art in the young nation. The book is fully illustrated with paintings by the Peales that range from portraits and historical scenes to scientific illustrations, still lifes, and full-blown expressions of Victorian sentimentality, all of which depict life during the first century of the nation's independence. Bibliography. Index.

    Prominent among these were domestic servants, members of the lower classes whose duties ranged from managing of the household to raising the children. Within the confines of the household, the powerful and the powerless came together in complex and significant ways. In Housecraft and Statecraft, historian Dennis Romano examines the realities and significance of domestic service in what was arguably the most important city in fifteenth- and sixteenth-century Europe--Venice. Drawing on a variety of materials, including humanist treatises on household management, books of costumes, civic statutes, census data, contracts, wills, and court records, Romano paints a vivid picture of the conditions of domestic labor, the difficult lives of servants, the worries and concerns of masters, and the ambivalent ways in which masters and servants interacted. He also shows how servants--especially gondoliers--came to be seen more and more as symbols of their masters' status.Housecraft and Statecraft offers a unique perspective on Venice and Venetian society as the city evolved from a merchant-dominated regime in the fifteenth century into an aristocratic oligarchy in the sixteenth. It traces the growth, within the elite, of a new sense of hierarchy and honor. At the same time, it illuminates the strategies that servants developed to resist the ever more powerful elite and, in so doing, demonstrates the centrality of domestic servants in the struggles between rich and poor in early modern Europe.

    The sculpted foot of Michelangelo’s David was damaged in 1991 by a purportedly mentally ill artist. With each incident, intellectuals must confront the unsettling dynamic between destruction and art.  Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring specters of censorship, iconoclasm, and vandalism that surround such acts.Gamboni uncovers here a disquieting phenomenon that still thrives today worldwide. As he demonstrates through analyses of incidents occurring in nineteenth- and twentieth-century America and Europe, a complex relationship exists among the evolution of modern art, destruction of artworks, and the long history of iconoclasm. From the controversial removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza to suffragette protests at London’s National Gallery, Gamboni probes the concept of artist’s rights, the power of political protest and how iconoclasm sheds light on society’s relationship to art and material culture.Compelling and thought-provoking, The Destruction of Art forces us to rethink the ways that we interact with art and react to its power to shock or subdue.

    Prominent art historian Thomas Crow explores the links between avant-garde art and modern mass culture, showing that the connections between the two have always been strong and even necessary to both.

    Islamic calligraphy took its inspiration from Muslim belief in the divine origin of Arabic writing, the medium through which the Quranic revelation to the Prophet Muhammad was recorded. In the early years of Islam the sanctity of Arabic writing was accepted among Arabs and no-Arabs alike, and its use in sacred and official texts gave rise to a wonderful profusion of scripts and a calligraphic tradition that has flourished for over a thousand years — not only in manuscript decoration but in architecture, ceramics, and painting. The Splendour of Islamic Calligraphy, widely acclaimed on first publication as the most lavish and sumptuous study of its kind, provides a comprehensive and fascinating survey of the subject from its earliest origins to the present day. Its explains with the help if numerous lime drawings the geometrical and ornamental principles of calligraphy, and examines the interdependence of script and page decoration. It gives an overview of the complex variations of this most graphic forms of writing and traces its evolution right up to its current expression in the painting of artists such Shakir Hassan. Finally, and perhaps most importantly, it contains outstanding examples of scripts — kufic, thuluth, naskhi, and maghribi among others — im a series of magnificent photographs. Many in colour and some showing enlarged details these photographs reproduce in stunning detail a range of manuscript pages, paintings and other works of art to illustrate the supreme craftsmanship of Islamic calligraphy.

    They include still lifes from Dali's youth, a number of Surrealist beach scenes remarkable for their mysterious vistas and obsessive sexuality, and some troubling depictions of the distorted human body. The works range from epic, mural-size canvases to small, subtly rendered studies. Accompanying the illustrations are extensive commentaries by Kenneth Wach, who discusses both the style of the works and their often complex psychological content. He also provides an introduction which gives a broad overview of Dali's development from his childhood efforts in Catalonia to his participation in the Surrealist movement in Paris and his later works executed in the United States and Spain.

    Meet the painter of American Gothic in this biography that follows Grant Wood's path to becoming a renowned American artist.

    The recurring themes that have influenced Young's minimalist music and Zazeela's ongoing engagement with the use of light in art are explored.

    An in-depth look at the life and work of the impetuous, solitary, tireless creator who, in asserting his freedom to create on his own terms, was the prototype of a modern artist.

    For twenty years the Zurich-born Spaniard has been dazzling with virtuoso major buildings, from bridges and towers to airports and railway stations, exciting international attention with every new project. He exhibits a sculptor's instinct for the relations of statics and dynamics, of mass and style, as time and again he produces forms of stunning expressive power. For his inspiration, Calatrava draws on organic, human and zoomorphic shapes such as ribs, bones, or insect eyes. Throughout, the lightness of his touch in transferring from small-format models in wood and metal to the immense scale of his constructions has fascinated - from the telecommunications tower in Barcelona and the EXPO bridge in Seville to Bilbao airport. This book, created in close consultation with Calatrava himself, was designed by celebrated Spanish graphic designer and Calatrava authority Quim Nolla. Working the line where architecture and design meet, it affords a unique view of a creative endeavour that has set standards for the architects and designers of the future.

    This book concentrates on 100 paintings from his significant output, showing how they capture the charm and elegance, the opulence and assurance of the late Victorian and Edwardian eras and the place of the American ex-patriot in European society.

    Two hundred and eighty of Cezanne's most important oil paintings and watercolours fill the pages of this elegant little volume.

    The work of important yet previously invisible figures is highlighted alongside the work of established artists to create a re-theorized interpretation of the art of this century.

    All 150 works in the show are included, with additional illustrations that reveal his working methods.

    Having finally earned the money and gained the respect he sought in his early days as a struggling painter, Claude 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.

    The manuscript furnishes a wealth of varied information offering insights into the period immediately preceding Islam and extending through the first four centuries of Islamic rule. The book provides valuable information on "gifts" exchanged on various occasions between Islamic rulers and their foreign counterparts. "Rarities" form a part of the gifts; some of them are marvels, others are mythical.The manuscript is an invaluable source of information in many fields. It abounds with technical references and details in various areas of Islamic art, which renders it unique as a reference. The extensive detailed treatment, in the context of the overall material culture, provides a particularly rich source of information for those working both in the specific field of Islamic art and in that of Islamic culture as a whole.