His unforgettably iconic images of Sarah Bernhardt and others embody the spirit of the fin de siècle. But underneath his successful career as an artist and poster designer lay a passionate Slav nationalist whose most important and long neglected works are still being painstakingly restored and exhibited in the Czech republic. This book is the first comprehensive overview of his life and work and is published in association with the Mucha Museum in Prague.

    Though his name may be familiar to all of us, his work has been habitually detested and forced into obscurity. Not only was his theatrical realism unfashionable in his time, but his sacrilegious subject matter and use of lower class models were violently scorned. Michelangelo Mirisi de Caravaggio lived a life riddled with crime and scandal, producing a body of work that wouldn't be appreciated until centuries after his mysterious death. Though his body was never found, he is assumed to have been murdered by ruffians on a beach south of Rome-a fate strangely similar to that of controversial Italian director Pier Paolo Pasolini who was, like Caravaggio, a homosexual.Caravaggio's reputation was decidedly poor during his lifetime; sometimes rich, sometimes penniless, when he wasn't in prison he was running away from the police or his enemies. Perhaps no other painter has suffered such injustice: his works were often attributed to more respected painters while he was given the credit for just about anything vulgar painted in the chiaroscuro style. Caravaggio's great work had the misfortune of enduring centuries of disrepute. It wasn't until the end of the 19th century that he was rediscovered and, quite posthumously, deemed a great master.

    Full-color reproductions and thorough text provide a quick yet solid introduction to this master.

    In two volumes, a selection of history's greatest masterpieces is presented chronologically, including works by Botticelli, Breughel, Chagall, Courbet, Degas, Delacroix, D?rer, Goya, Monet, Raphael, Rembrandt, Renoir, Rubens, Tiepolo, Titian, and many others. Each chapter focuses on one painting, with enlarged details and in-depth texts describing their significance. Taking apart each painting and then reassembling it again like a huge jigsaw puzzle, the authors reveal the history of art as a lively panorama of forgotten worlds.

    This accessible new study provides the most comprehensive view of the movement to date. It shows us why, a century and a half later, Pre-Raphaelite art retains its power to fascinate, haunt, and often shock its viewers. Calling themselves the Pre-Raphaelite Brotherhood, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt produced a statement of ideas that revolutionized art practice in Victorian England. Critical of the Royal Academy's formulaic works, these painters believed that painting had been misdirected since Raphael. They and the artists who joined with them, including William Michael Rossetti, James Collinson, and Frederick George Stephens, created bright works representing nature and literary themes in fresh detail and color. Considered heretical by many and frequently admonished for a lack of grace in composition the group disbanded after only a few years. Yet its artists and ideals remained influential; its works, greatly admired. In this richly illustrated book, Elizabeth Prettejohn raises new and provocative questions about the group's social and artistic identity. Was it the first avant-garde movement in modern art? What role did women play in the Pre-Raphaelite fraternity? How did relationships between the artists and models affect the paintings? The author also analyzes technique, pinning down the distinctive characteristics of these painters and evaluating the degree to which a group style existed. And she considers how Pre-Raphaelite art responded to and commented on its time and place a world characterized by religious and political controversy, new scientific concern for precise observation, the emergence of psychology, and changing attitudes toward sexuality and women. The first major publication on the Pre-Raphaelite movement in more than fifteen years, this exquisite volume incorporates the swell of recent research into a comprehensive, up-to-date survey. It comprises well over two hundred color reproductions, including works that are immediately recognizable as Pre-Raphaelite masterpieces, as well as lesser-known paintings that expand our appreciation of this significant artistic departure.

    Despite a brief career, he was a prolific Post - Impressionist artist of spectacular talent. Van Gogh looks at all aspects of his painting, along with detailed commentary on 120 of his works and additional imagery to highlight comparisons and contrasts in his style. Some of these are considered his most important pieces while others are less well known, but all were central to Van Gogh's philosophical and artistic development.

    This is the most complete and lavishly illustrated volume ever published on Art Nouveau, and it accompanied a major exhibition at the National Gallery of Art, Washington, D.C.

    The book places Kinkade in the historical context of 19th-century painters of the Hudson River school and others, in what he calls the Luminist tradition. Also included is a biographical essay. A quarter of the images have never before been reproduced in book form.

    Nicknamed by their mentor, the famous illustrator Howard Pyle, The Red Rose Girls lived and worked at a picturesque former inn of the same name in an idyllic suburb on Philadelphia's Main Line. In the course of their years together they formed intimate bonds of friendship and love and enriched each other's professional lives by sharing ideas and inspiration. Smith and Green were prolific illustrators, celebrated for their work in children's books and periodicals such as Scribner's, Collier's, Harper's; and Oakley was a painter and muralist of national reputation whose work graces the interior of the Pennsylvania State Capitol in Harrisburg. Full-color illustrations and wonderful period photographs bring their work and milieu to life.

    Includes essays by Whoopi Goldberg, Arthur Miller, Mel Gussow, Kurt Vonnegut, Grace Mirabella, Louise Kerz Hirschfeld and more Commentary by Hirschfeld throughout.

    This book is a delight! A Complete comprehensive pictorial of Coops entire body of work. The book features his album covers, original paintings and Pop Culture Merchandise. The book also contains original sketches for the finished artworks and revealing commentary from Coop himself. It is a must have for every Coop Collector and Art Historian!

    From decorative elements of buildings to calligraphy and the embellishment of everyday objects, ornamentation that is most characteristic of Islamic art form is displayed in all its richness.

    verso.

    A new version of Phaidon classic published in 1937, this evocative and fascinating book presents 500 of the world's greatest self portraits, arranged in a simple chronological sequence from ancient time to the late 20th century.

    In this book, Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects are unraveled in depth. At the same time, this "archaeology"of Rembrandt's paintings yields information on many other levels.In art-historical research, the work of art as a material object is used increasingly as an important source of information about the painting itself, as well as about historic studio practice in general. The range from practical workshop devices to aesthetic and art-theoretical matters combined in this book offers a view of Rembrandt's daily practice and artistic considerations, while simultaneously providing a more three-dimensional image of the historical artist.

    Here are tomb paintings and sarcophagi from the Valley of the Kings, devotional altarpieces expressing the religious fervor of the Middle Ages, and masterpieces by Giotto, Raphael, Leonardo, Rembrandt, Rubens, Delacroix, David, Vermeer, and Ingres.The Louvre also contains photos and historical drawings of the architectural development of the fortress-turned-palace-turned-museum, as well as an engaging account of French history that helped form one of the most spectacular collections in the world.

    In each, Sister Wendy chooses a wide variety of art -paintings, sculpture, porcelain figures- and draws attention to the small details of the work, revealing hidden meanings and symbolism. She relates the background of the artist and briefly explains the techniques and the histories behind each work, with humor and insight.The books includes over 250 full-color illustrations.

    There, on a willow-covered island in the middle of the lake, is a pagoda roofed Khang, or temple. During the brief reign of the Sixth Dalai Lama, who built the temple in the eighteenth century, unknown artists created a series of mysterious paintings on the walls of the temple's private chapel. Comparable in quality and ambition to the Sistine Chapel in Rome, these master-pieces of Tibetan art are reproduced for the first time in this extraordinary publication.The chapel was reserved exclusively for the Dalai Lamas as a place of meditation and spiritual retreat. For centuries the Lukhang murals, which illustrate the path to spiritual liberation, guided the Dalai Lamas in a form of mystical contemplation called Dzogchen -- the most secret practice in Tibet's Tantric tradition. Beyond their Tibetan origins, the murals display a universal spiritual vision. Merely to contemplate them, Tibetans believe, can open the mind to timeless spiritual truth.At the heart of this book are more than 150 color photographs of the murals and their temple, taken in the most difficult conditions by the American explorer-photographer Thomas Laird. Ian Baker's text, which places these remarkable works within their historical and cultural perspective, is augmented by accounts from other Tibetan sources. A special feature of the book is an introduction and quotations by Tenzin Gyatso, the Fourteenth Dalai Lama of Tibet, as well as additional drawings from Buddhist texts.This treasure of Tibetan Buddhist spirituality is presented in a magnificent large-formatedition. The vivid detail, rich color, and awe-inspiring impact of this path to spiritual liberation can at last be experienced outside the Lukhang chapel.

    Not only does it cover in one volume all the periods of Picasso's long, incredibly versatile career - with exquisite reproductions of nearly every significant work he ever created - but the scholarship is also impeccable: each of the three authors is a leading authority on a particular period of Picasso's artistic evolution. Brigitte Leal covers Picasso's formative years from 1881 through 1916, a period that includes his invention of Cubism with Georges Braque. Christine Piot explores the astonishingly fertile period from 1917 through 1952. Marie-Laure Bernadac discusses the unabashed vigor of Picasso's later years, from 1953 until his death in 1973. Over 1200 magnificent reproductions, 798 in full color, illustrate Picasso's breathtaking range of artistic expression, including paintings, drawings, lithographs, ceramics, and sculpture.

    This first work in a multivolume study introduces 40 African-American self-taught artists, who, without significant formal training, often employ the most unpretentious and unlikely materials.

    Bursting with ideas, he restlessly moved between media, constantly experimenting with the technological and scientific processes of constructing the image. In Ray's compositions bodies and objects are made strange and unfamiliar -- erotic, playful and sometimes sinister. Ray was a charismatic figure with a knack for creating and energising artistic movements, influencing and befriending many leading lights of the European Avant-Garde, from Dadaists to Surrealists and including Duchamp, Picasso, Satie, Cocteau and Breton. Ray's vast photographic oeuvre is often considered to be his most important and ground-breaking body of work. As well as consistently creating unusual and beautiful images, he also developed a number of new photographic techniques, most Famously photograms (or "Rayographs," as he preferred to call them), and the solarization process which, as he himself claimed, he "discovered" by accident with his muse, assistant and model Lee Miller. This volume brings together the finest photographs from collections and archives around the world, representing the singular vision of Man Ray at his most dynamic and beautiful.

    to the mid-19th century. Its impressive architecture goes back 800 years, to its origins as a fortress guarding medieval Paris. In its contemporary incarnation, recently reconfigured and rebaptized "The Grand Louvre," it spreads over four levels and boasts more than 30,000 works of art; its galleries, shops, and offices occupy some 1.6 million square feet, of which some 645,000 are dedicated to exhibitions.Such daunting dimensions can make the museum feel like an endless labyrinth to uninitiated visitors. For them, The Pocket Louvre is a unique and essential resource, including:-A handy user's guide with information about access to the museum and its many services, from cafes to a post office to shops.-Suggested itineraries for visits of varying lengths and for visitors with differing interests.-A history of the Louvre and its architecture.-A history of the collections.-An illustrated catalog of 500 masterpieces, all in color, with useful brief commentaries.

    A beautifully illustrated book, internationally recognized as the definitive survey of Minimalism, now available in paperback

    He argues that Art Nouveau was evolutionary, drawing on a range of sources including the French Neo-Rococo, the English Arts and Crafts Movement and Symbolism, as well as revolutionary, exploring the inherent possibilities of steel and glass and the functionalism that was to be taken up by the Modern Movement. This is the first book to examine Art Nouveau worldwide in the context of the issues of the age, from fin-de-siecle anxieties about the pressures of modern life to nationalism, spiritualism, the emancipation of women and the heroic cult of youth.

    Produced to accompany the first major exhibition ever organized on the Taoist philosophy and religion, this opulent book includes more than 150 works of art from as early as the late Zhou dynasty (fifth-third century b.c.) to the Qing dynasty (1644-1911). Many of these works are paintings that show the breathtaking range of style and subject that makes the Taoist heritage so rich. Sculpture, calligraphy, rare books, textiles, and ritual objects are also represented.Like the exhibition, the book is organized thematically. It begins with the sage Laozi (to whom the Daode Jing is attributed), and moves on to explore the birth of religious Taoism and the interaction between Taoism, Buddhism, and Confucianism. A wealth of subjects are covered: the gods of the Taoist pantheon, ritual, the boundaries and intersections between Taoism and popular religion, Taoist Immortals and Realized Beings, the role of alchemy, sacred landscape and its significance, and Taoist temples and their architecture.Taoism and the Arts of China includes an engaging series of introductory essays by scholars with a deep understanding of their subjects. Among the topics discussed are a historical introduction to Taoism, archaeological evidence for early Taoist art, and a general introduction to the functions of art in religious Taoism. Lavishly illustrated with over 150 color images, this volume affords a sweeping view of an artistic terrain that until now has received too little exposure in the West. Its publication constitutes a major advance in Western understanding of this important tradition.

    The author explores how Mexican historians conceptualized and painted their past, and introduces the major pictorial records: Aztec annals and cartographic histories and Mixtec screenfolds and lienzos. Boone focuses her analysis on the kinds of stories told in the histories and on how the manuscripts work pictorially to encode, organize, and preserve these narratives. This twofold investigation aims to broaden our understanding of how preconquest Mexicans use pictographic history for political and social ends. It also demonstrates how graphic writing systems created a broadly understood visual language that communicated effectively across ethnic and linguistic boundaries

    Finally available in paperback, this invaluable compendium offers more than 900 examples of graphic design projects of all kinds -- promotional materials, letterheads, editorial layouts, exhibits, packaging, posters, annual reports, T-shirts and more -- culled from the work of leading professionals in every area of the graphic design field.

    Finally, here is a comprehensive collection of her marvelous works, along with a selection of studies and roughs, an appendix featuring an illustrated treatment of her techniques, and incisive commentary by both award-winning writer John Grant and the artist herself.

    Here, well-known experts on Philip Guston's oeuvre such as Michael Auping and Christoph Schreier discuss the scope of Guston's sizeable body of work.

    In Kusama's installations and sculptures she compulsively covers every surface, either in polka dots (Infinity Mirror Room, 1965); mirrors (Endless Love Show, 1966); or phallus-like protrusions (Violet Obsession, 1994, a vivid purple boat lined with stuffed forms).This is the first monograph on the forty-year career of this distinguished, highly innovative artist, who represented Japan at the Venice Biennale in 1993; it was published to coincide with an exhibition at the Serpentine Gallery, London, January -- March 2000.

    The Washington Post calls her "a phenomenon". Art in America, in its glowing tribute to the world's best-loved art expert, cheers the "genuine passion Sister Wendy brings to her commentary" and her "rhapsodic descriptions". Here this British nun, whose public television series and books have introduced millions to the pleasures of art, combines her interest in the Muses of classical mythology with her appreciation for fine porcelain -- in a lovely little paean to the patron goddesses of the arts.The nine Muses and their protector, Apollo, are shown as fine porcelain pieces, and the text notes the qualities that make them the unique guardians of inspiration. Radiating Sister Wendy's infectious enthusiasm on every page and revealing her personal reflections on the complexities of human nature, this unique mythology book -- the only volume in print devoted exclusively to these classical Greek sources of inspiration -- is an inexpensive delight.

    Tanguy's artistic obsession was the world of imagination, of dreams and reveries, and his cryptically codified imagery continues to perplex audiences today. His paintings seem to exist in a hazy, oddly beautiful limbo dimension beyond time and space, a world at once vertiginous and calm, disturbing and breathtaking. The central focus of Yves Tanguy and Surrealism is the Surrealist mode, to which Tanguy dedicated himself like no other painter of his time, cementing the movement's place in the history of visual art. On the basis of previously unpublished documents and works, authors discuss Tanguy's otherworldly oeuvre in all its aspects--from his development as an artist to the reception of his work in the United States. With stunning reproductions in full color as well as black and white, Yves Tanguy and Surrealism is an extensive overview of the work of an artist whose forays into the creative unknown continue to resonate.

    It is the first multi-author, in-depth probe of the artist's entire career: the nature of his work, his education, the critical climate in which he worked, and his use of materials and techniques. It reproduces, in full color, more than 200 works, most of which have not been published in color, or at all, in other books on the artist.An extensive chronology, collating events in his life with his public reception -- including selected exhibitions, publications, honors, and awards -- is illustrated with family photographs. Jacob Lawrence (1917-2000) spent his childhood in New York City, attending classes at the Harlem Community Art Center and the American Artists School, and later working for the Federal Art Project. While still in his twenties Lawrence exhibited his paintings at major museums across the country, including the Phillips Collection, the Metropolitan Museum of Art, the Art Institute of Chicago, and the Museum of Modern Art in New York, where he became the first African American artist represented in the permanent collection. He lived, painted, and taught in New York City until 1971, when he moved to Seattle to join the faculty of the University of Washington. He was the recipient of numerous awards including the National Medal of Arts.The paperback edition of Over the Line is published in conjunction with a major exhibition opening at the Phillips Collection, Washington, DC, on May 26, 2001, and traveling to the Whitney Museum of American Art, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Houston.

    Faced with the new challenge of television, the studios conjured up a host of irresistible attractions: Cinemascope, Vista-Vision, and 3D; the sexy Marilyn Monroe and voluptuous Jayne Mansfield; the moody figures of Paul Newman and James Dean; and the emergence of the sci-fi and horror genres. With more than 250 full-color posters from all over the world, Film Posters of the 50s is a must-have for all film buffs as well as anyone interested in graphic design and advertising.

    During his short, intense career he revolutionized portrait painting, decisively influencing its course in the twentieth century.Published to accompany a major touring exhibition, Van Gogh Face to Face brings together for the first time the great portraits from all periods of the painter's life, augmented by reproductions of many of his most important other paintings. The result is an unprecedented and wonderfully revealing study of van Gogh's development as an artist, making it possible to see his evolving approach to the genre as he pushed back the boundaries of portraiture, culminating in the masterworks of his final years.Six original essays by leading art historians discuss the key aspects of van Gogh's portraits at different stages of his career. George Keyes begins by setting the paintings in the context of Dutch art, demonstrating the formative influence of masters such as Rembrandt and Frans Hals. Lauren Soth discusses the stark but carefully finished drawings made by van Gogh during his early years in The Hague. George Shackelford examines the pictures made during van Gogh's stay in Paris, his first works to show the influence of the Impressionists and of contemporaries such as Gauguin and Toulouse-Lautrec.In Arles in the south of France, van Gogh entered a great period of feverish productivity, and his portraits -- of peasants, villagers, and himself -- are among his most powerful pictures. Roland Dorn examines the major works, in particular the revolutionary sequenceof portraits of the Roulin family in which van Gogh's experimentation with color is brought to fruition. After his breakdown, van Gogh moved first to an asylum in St. Remy and then to Auvers, a small village north of Paris. Judy Sund discusses the portraits van Gogh painted as he struggled to keep his sanity, including the famous pictures of Dr. Gachet and the final haunting self-portraits.Joseph Rishel concludes by examining the impact of van Gogh's work on his contemporaries and his pervasive influence on later artists such as Matisse, Picasso, Munch, and Francis Bacon. Interspersed with the essays is a detailed, four-part chronology of the painter's life, beautifully illustrated with both his portraits and other important paintings.

    The authors discuss the religious meaning and use of tangkas, Buddhist iconography and the aesthetics of tangka paintings, sculpture and mandalas.

    The first female painter since Artemisia Gentileschi in the seventeenth century to portray an ideal of heroic femininity, Romaine Brooks (1874-1970), like her contemporary Gwen John, shaped an image of the androgynous New Woman for the twentieth century.An American born in Rome, Brooks spent most of her life in Paris. After a brief but passionate romance with the poet Gabriel D'Annunzio, with whom she maintained a lifelong friendship, she turned to relationships with women and to art to express her emerging self. For many years the companion of Natalie Barney, whom the artist depicted as L'Amazone in one of her most famous portraits, Brooks belonged to the international lesbian community that included Compton and Faith MacKenzie, Renée Vivien, Radclyffe Hall (who immortalized Brooks as the barely fictionalized American painter Venetia Ford in The Forge), and Una, Lady Troubridge.The milieu Brooks chose was the privileged, often eccentric demi-monde of wealthy aristocrats and expatriate writers, artists, intellectuals, and performers who gathered in Rome, London, Capri, Paris, and Florence. The social circles she traveled in included Somerset Maugham, Norman Douglas, Charles Freer, Count Robert de Montesquiou, Jean Cocteau, Augustus John, Carl Van Vechten, and Ida Rubenstein, several of whom were subjects for Brooks's portraits.Amazons in the Drawing Room, published in conjunction with a major traveling exhibition of Brooks's work--the first since 1971--opening at the National Museum of Women in the Arts in June 2000, provides a fresh context to view Brooks's haunting and compelling art. Whitney Chadwick's overview of Brooks's life and artistic focus and Joe Luchesi's examination of Brooks's portraits and photographs of Russian dancer Ida Rubenstein bring into sharp focus the complex artistic, literary, and political influences that shaped Brooks's sensibility and approach to portraiture.

    Kirsh and Levenson teach the most valuable lessons about painting of all: how meanings, material, and techniques are bound up together.”—John Walsh, former director, J. Paul Getty Museum“Every element of Kirsh and Levenson’s book is smart, concise, and informative. . . . [It is] the essential book on its subject.”—Kenneth Baker, San Francisco Examiner & Chronicle“A long overdue book with direct relevance for modern students of the history of art.”—Libby Sheldon, Burlington Magazine

    It emphasizes Lang's reflection on modernity, and hones in on the problem of identity and subjectivity in a progressively more automated, impersonal world.

    Founded in 1914 by Wyndham Lewis, and christened by Ezra Pound, the movement was a sustained act of aggression against the moribund and moderate Victorianism that Lewis and Pound saw as stifling the artistic energies of the new generation in England.Vorticism's relatively brief life is successfully captured in this, the first fully-illustrated guide to the movement in English in over 25 years. It includes a chapter by Richard Cork on Vorticist sculpture, other chapters discuss painting, literary Vorticism, women in Vorticism, and Vorticist aesthetics.

    For seventy-five years The New Yorker has been entertaining and enlightening its loyal readers (two-thirds of whom live outside the city). Its peerless covers—created by a large stable of extraordinarily talented artists and cartoonists—have mirrored the magazine's feisty spirit from the beginning, becoming even more pungently topical in recent years. No noteworthy subject or scandal has escaped their scrutiny, from Broadway flappers and the eternal Eustace Tilley to dishonest pols and the gigahertz speed of contemporary life. Inexhaustibly varied in mood and style, the covers are united by their visual sophistication, their imaginative wit, and their high pleasure-giving quotient.This stylish compendium presents not only the best of The New Yorker's covers—selected by art editor Francoise Mouly and organized into such classic themes as The Big City, Arts and Music, and The Buzz—but also a behind-the-scenes peek at the sketches that lead up to them, as well as a look at the controversy that sometimes follows in their wake. A "Conversation" between Ms. Mouly and Lawrence Weschler—a noted New Yorker writer and are critic—illuminates the history of the magazine's covers and how they have changed over the past decade. In addition, several "Sketchbooks" highlight the work of especially evocative cover artists, including Semp, Spiegelman, and Steinber, these portfolios are complemented by six detachable full-size covers, suitable for framing, bound into the back of the book.About the Authors: Francoise Mouly is art editor of The New Yorker. Lawrence Weschler is a frequent contributor to the magazine.

    The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.

    In some five hundred caves carved into rock cliffs at the edge of the Gobi desert are preserved one thousand years of exquisitemurals and sculpture. Mogao, founded by Buddhist monks as an isolated monastery in the late fourth century, evolved into an artistic and spiritual center whose renown extended from the Chinese capital to the far western kingdoms of the Silk Road. Among its treasures are miles of stunning wallpaintings, more than two thousand statues, magnificent works on silk and paper, and thousands of ancient manuscripts, such as sutras, poems, and prayer sheets, which in 1900 were found sealed in one of the caves and then dispersed to museums throughout the world.Illustrated in color throughout, Cave Temples of Mogao combines lavish photographs of the caves and their art with the fascinating history of Mogao, Dunhuang, and the Silk Road to create a vivid portrait of this remarkable site. Chapters discuss the development of the cave temples, the iconographyof the wall paintings, and the extraordinary story of the rare manuscripts, including the oldest printed book in existence, a ninth-century copy of the Diamond Sutra. The book also describes the long-term collaboration between the Getty Conservation Institute and Chinese authorities in conservationprojects at Mogao as well as the caves and the museum that can be visited today. The publication of this book coincides with the centenary of the discovery of the manuscripts in the Library Cave.

    Routledge is an imprint of Taylor & Francis, an informa company.

    Published with the cooperation of the Lutyens family, and illustrated with specially commissioned and archival photographs of intact or restored interiors and gardens, original furniture designs, and contemporary reinterpretations of the Lutyens style, the book provides fresh insight into a design genius whose masterful synthesis of function and artisry has enduring relevance and appeal.

    Emerging in the 1960s, Mangold is often associated with Minimalism for his non-hierarchical compositions and use of simple geometric forms. His subtle colours and soft, hand-drawn figures also recall other sources, from traditional Greek pottery to the frescos of Piero. Among the most accomplished painters working today, Mangold is collected in the world's pre-eminent museums.This first comprehensive monograph assesses Mangold's contribution to contemporary painting, with essays by some of the most distinguished writers on contemporary art. Richard Shiff interprets Mangold's art in the context of its broad cultural history; Robert Storr analyses the work in relation to late twentieth-century painting; Arthur C Danto examines in depth the Zone Paintings series; and Nancy Princenthal presents a chronological history of the concepts in the work. Also included is a conversation with the artist's wife, painter Sylvia Plimack Mangold, about the sources behind his work, and artist's statements accompanied by photographs of the artist in his studio by their son, the noted film maker James Mangold.

    Champenois and other clients. With their flowing design and subtle, sumptuous colors, Muchas posters are among the most elegant products of the Art Nouveau era. This book of postcards presents thirty of his loveliest designs.

    Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested.

    Examining the works of these artists, Brookner traces the way in which French Romanticism evolved from the political turmoil of the late eighteenth century and the defeat of Waterloo in 1815, and replaced the agnosticism of the Enlightenment and the Revolution with a new heroism. She argues that the Romantics in France made the heroism of modern life their creed and "transferred their idealism to the domain of art, either as practitioners or as critics." Here is Gros as hero and victim, Alfred de Musset as "enfant du siecle," Delacroix as Romantic Classicist, and later in the century, Zola as an advocate of life for art's sake and Huysman's indulging in the madness of art. In "Romanticism and Its Discontents," Anita Brookner takes us on a fascinating tour of these artists, poets, and critics, bringing unfamiliar works brilliantly to life and casting a new light on more recognizable ones.

    It is true that it is Italy's privilege and pride to be able to offer an unparalleled "dispersed museum." Archeological sites, churches and monasteries, civic monuments of architecture and statuary, museums, public and private art collections, historic gardens, landscapes shaped by centuries of human labor: all these and more form a network of high-quality art that covers not only the great urban centers but the whole of the territory. A network that, despite the destruction wrought by thousands of agonizing events, from pillage by armies to natural disasters, has held and still holds magnificently, thanks to the strength of its historical structure, made up of institutional and human relationships. Admiring a work of art in an Italian museum or church, where the work itself still holds a dialogue, beyond the walls that enclose it, with the urban or rural environment of which it is an expression and reflection, is always a quite different thing from looking at it in the often impeccable but inevitably aseptic surroundings of a great museum in Europe, America or any other part of the world.

    The book also surveys the various practices of individual artists in the making, signing, exhibiting and selling of impressions.

    This lively and richly illustrated book investigates the influence of oriental trade and travel on medieval Venice and its architecture.Architectural historian Deborah Howard examines the experiences of Venetian merchants overseas, focusing on links with Egypt, Syria, and Palestine, as well as with Persia and the Silk Route. She argues that many Venetians gained insight into Islamic culture through personal contacts with their Muslim trading partners. Based on wide-ranging multidisciplinary research, this book examines the mechanisms that governed the exchange of visual culture across ideological boundaries before the age of printing. Howard explores a range of building types that reflect the impact of Islamic imagery, paying special attention to two icon buildings, San Marco and the Palazzo Ducale. She considers the complexities of importing Muslim ideas to an unambiguously Christian city, itself the point of embarkation for pilgrims to the Holy Land.

    In the museum's new theater (which he designed), he staged the premiere of the revolutionary Gertrude Stein and Virgil Thomson opera Four Saints in Three Acts (with an all-black cast). At Lincoln Kirstein's instigation, he brought Balanchine to America. And he embraced all the new art forms, making film, photography, architecture, and contemporary music part of the life of his museum. For his own family he built a Palladian villa (now a recently restored national historic landmark), filling it with the baroque and the Bauhaus and inviting all the locals in to see how it felt to be modern.Austin's instinct for quality proved infallible. Whether acquiring a matchless Caravaggio or a startling Dalí, he balanced the old masters with the modern. Mounting provocative shows that linked the past to the present, he created dramatic installations--and he threw himself into everything, hanging fabrics, creating backdrops, stitching up costumes. He loved to teach, to paint, to act, to give lavish costume balls, and to dazzle audiences of all ages with his performances as a magician, the Great Osram.Brilliant at using his magician's sleight of hand, he could manipulate his conservative trustees to get what he wanted--but only up to a point. One more purchase of an incomprehensible abstract canvas, one outrageous party too many, one more shocking theatrical role, eventually led to a crisis. Never one to be idle for long, Austin left Hartford and took on a new challenge--to make an artistic triumph of the pink-and-white palace in Sarasota, Florida, known as the John and Mable Ringling Museum of Art, which housed the circus king's moldering but magnificent collection.Here is the colorful life of Chick Austin, and as we relish his audacious career--the risks he took, the successes he enjoyed along with the inevitable setbacks--we understand what a far-reaching influence he had on the way Americans look at and think about art. Not only a brilliant portrait of an extraordinary man, this wonderfully American story gives us a fascinating behind-the-scenes glimpse into the art world as it was then--and in many ways still is today.From the Hardcover edition.

    Displaying a dazzling array of fine art and material culture, Made in California challenges us to reexamine the ways in which the state has been portrayed and imagined. Unusually inclusive, visually intriguing, and beautifully produced, this volume is a delight throughout—both in image and in text—and will appeal to anyone who has lived in, visited, or imagined California.Drawn from the exhibition, which gathers more than 1,200 artworks and pieces of ephemera from many public and private collections, Made in California is an image-driven look at the past century, featuring more than 400 works in a range of media, from painting, sculpture, prints, drawings, and photographs to furniture, fashion, and film. The book also includes more than 150 cultural artifacts such as tourist brochures, posters, labor union tracts, personal letters, and government reports that convey the richness and complexity of twentieth-century California. Arranged provocatively by theme, these objects take us on a visual tour of a state that was promoted as a bountiful paradise early in the century; as a glamour capital by Hollywood in the 1920s and 1930s; as a suburban utopia in the late '40s and '50s; as a haven for counterculture in the '60s and '70s, and as a multicultural frontier in the '80s and '90s. The book's exploration of how these themes were reflected and contested in California's visual culture deepens our understanding of the state's artistic traditions as well as its fascinating history.The volume is divided into five twenty-year sections, each including a narrative essay discussing the history of that era and highlighting topics particularly relevant to its visual culture. Two overarching themes emerge that have been crucial for how we imagine and understand California: first, the landscape, including both the natural and built environment, and second, the multifaceted relationships California has had with Latin America and Asia.Geographer Michael Dear has contributed a sweeping overview of the social history of California that examines the vibrant and sometimes turbulent conditions out of which the culture emerged. Essayist Richard Rodriguez closes the volume with a uniquely personal meditation on the Golden State.

    Guggenheim Museum have been those that have presented the art of the Russian avant-garde. In Amazons of the Avant-Garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova the work o six legendary Russian women artists is poignantly explored, offering a refreshing look at this important period of art. Celebrating the vital role that each artist played in the formation of the radical art of the Russian avant-garde, the book looks at the evolution of the Russian painting from the 1900's through the early 1920's. It brings together the brilliant masterpieces of the period, including many that have not been in the West since they were created. The work of these pioneering women artists is expressed as tremendously influential in the world of the Russian avant-garde and important in capturing the Modernist as a whole.

    Spectacular Bodies: The Art and Science of the Human Body from Leonardo da Vinci to Now is a ground-breaking exhibition with the potential to be a visual, cultural, and academic revelation with profound impact. The project encourages a new way of looking at visual objects from the territories that are conventionally labeled "medicine" and "art."The human body is an astounding feat of engineering. For centuries man has striven to understand its complexities, both artistically and anatomically, often resorting to human dissection. Illustrating the point at which medicine and art collide, Know Thyself brings together an extraordinary range of more than 250 objects from more than eighty medical and art museums and collections worldwide. Works of art from across the centuries include the anatomical drawings of Leonardo, Michelangelo, Dürer, and Stubbs, seventeenth-century portraits of surgeons and paintings by great masters including Rembrandt, Hogarth, Courbet, Gericault, and Degas. These works will be shown in a new context alongside medical instruments, prints, and drawings used in the medical study of the human face and body, and life-size anatomical models.Today, as forensic and medical sciences advance as never before—with the development of genetic fingerprinting, cryogenics, and designer babies—artists continue to find inspiration in the human body. Video installations, photography, and sculpture will present new perspectives on the historic material. The eight contemporary artists involved range from internationally celebrated video artists Bill Viola and Tony Oursler, to younger artists like Gerhard Lang, Christine Borland, and Marc Quinn.

    to its absorption by Rome in the first century B.C., combines well-known aspects of the Etruscan world with new discoveries and fresh insights into the role of women in Etruscan society. In addition, the Etruscans are contrasted to the Greeks, whom they often emulated, and to the Romans, who at once admired and disdained them. The result is a compelling and complete picture of a people and a culture.This in-depth examination of Etruria examines how differing access to mineral wealth, trade routes, and agricultural land led to distinct regional variations. Heavily illustrated with ancient Etruscan art and cultural objects, the text is organized both chronologically and thematically, interweaving archaeological evidence, analysis of social structure, descriptions of trade and burial customs, and an examination of pottery and works of art.

    Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art--from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a cancer on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses. The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art.Interviewees: Vito Acconci, John Ahearn, David Avalos, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Denise Scott Brown, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko

    An essential compendium of the letters of Marcel Duchamp, the father of modern art in the twentieth century.

    His paintings have graced novels by such prestigious authors as Asimov, Dick, Bova, and Clarke as well as posters, game cards, and advertising. For the first time, a book is devoted solely to his art, with illuminating text by renowned, best-selling writer Steven Gallagher. “A fine introduction to [Moore’s] career.” —SFRA Review.

    Her unruly dark hair, lanky figure, and loose garments stood out in an age that favored petite, fair-haired women with feminine curves. Drawing on lavish portraits and rare photographs, Debra Mancoff examines Morris's image within the context of Pre-Raphaelite aesthetic ideals and Victorian standards of fashion. Part biography, part art history, and part cultural study, Jane Morris traces the beauty's rise from an eighteen-year-old working-class Oxford girl to a virtual "supermodel" for the Pre-Raphaelites, focusing on her relationships with artist-designer William Morris, whom she married in 1859, and Rossetti, with whom she shared a life-long romance.

    By presenting the range of styles vying for attention at a single point in time, the authors of 1900: Art at the Crossroads challenge the idea of art as a linear progression. The book is the lavish catalog of an exhibition organized by the Royal Academy of London and the Guggenheim Museum in New York. Its schizophrenic theme is suggested in the title of the first essay, "Art in 1900: Twilight or Dawn?" The material is organized into concepts established by the French Academy two centuries earlier--still life, the nude, landscapes, and history paintings--plus sections with more modern relevance such as cityscapes and bathers. Arranging works by theme rather than by artist or movement allows for some brilliant juxtapositions: a classical naked Danae by Carolus-Duran is paired with an abstracted Degas nude; a sentimental study of crippled boys by Bastida with a vicious Munch mother-and-child (both paintings titled Inheritance). The preoccupations of fin-de-siècle society emerge; several different treatments of Salome with the severed head of John the Baptist, for example, embody male fears of the femme fatale and her threat to bourgeois values. The book ends with a useful 70-page section of artist biographies. 1900 is a beautifully produced and stimulating study of a pivotal point in European art history. --John Stevenson

    Inspired as much by poetry and philosophy as by the affecting material qualities of sculpture, Salcedo subtly and painstakingly transforms everyday household objects and garments - symbols of a vanished existence and of the human tragedies that are its cause. In Atrabiliaros (1991-6) abandoned shoes of 'disappeared' Colombian people, half-concealed behind membranes of animal fibre, become ghost-like symbols of mourning. In Salcedo's ongoing untitled works, wooden furnishings, worn by long use and filled with concrete, mutely evoke the lives they once served.American art critic Nancy Princenthal surveys Salcedo's work in terms of the universal themes it evokes, contextualized in discussion of contemporary scultural practice. New York-based poet and curator Carlos Basualdo discusses with the artist her formative influences, which range from the art of precedecessors such as Joseph Beuys to the writings of philosophers and poets. German literary critic Andreas Huyssen focuses on Salcedo's sculpture Unland: The Orphan's Tunic (1997). For the Arist's Choice, Salcedo has selected two texts: an extract from Otherwise Than Being (1974) by philosopher Emmanuel Levinas, and poems by Paul Celan. The Doris Salcedo's observations on the human condition and its reflection in the work of poets, novelists and thinkers are discussed in conversation with art historian Charles Merewether.

    With detailed text and hundreds of full-color photographs, it describes the scientific advances made by key figures, such as C. J. Thomsen; renowned personalities of archaeology, such as Giovanni Belzoni; and important events in archaeological history, such as the development of Carbon 14 dating by scientists in the 1950s. Each of the book's five sections describes the history of one of the basic themes in archaeology, including: The search for treasure trove The search for the origins of humankind and civilization The search for "scientific" proof of the truth of ancient writings and of holy scripture The constant, continuing search for ancient pedigree for every modern nation and culture The universal re-occurring question, "What were our ancestors really like?"

    How can it organize, teach and offer therapy in ways that are relevant to the diverse complex and social and cultural groups of people who seek psychological help? How should it adapt to demands for accountability and evidence? How can it cope in a climate of competition and market share? Should it cleave to medicine or abandon it? Define itself as a science or an art or an ethical practice?

    Funny, bitchy, insightful, revealing —The Art Crowd changed the way the art world did business.A New York Times Bestseller.

    It considers them for both their artistry and as mediums through which divine insights may be revealed.

    Man Made examines Eakins's art and life, illustrating how the artist used his canvases to cope with the complex requirements of Victorian gender. Martin Berger reads a series of Eakins's paintings, ranging from early to late works, giving a nuanced and elegant examination of Eakins's portrayal of white, middle-class manhood. This provocative cultural art history treats these paintings in terms of what they reveal about Eakins's own identity as well as the nation's changing ideals of manhood during the final years of the nineteenth century.

    Accompanying essays seek to add insight to the broad range of the genre in Russia.

    Her artistic relationship with Leonardo da Vinci (1452-1519) is charted through the letters that they exchanged over the course of about six years. Beginning in late 1499, Leonardo spent several months in Mantua, where he met Isabella and produced a finished portrait drawing of her. In the years that followed, the marchioness wrote to the artist to ask him to undertake other paintings and projects. Though little came of these requests, da Vinci did produce a drawing of some classical hard-stone vases to assist her search for collectible antiques and also started work on a painting of Christ as a twelve-year-old boy at her request.The story of their relationship is explored in depth for the first time in Isabella and Leonardo. This illuminating story raises interesting and important questions about relationships between artists and patrons, and about women as art patrons at the beginning of the 16th century.

    The Gays were at the centre of a social circle that included Edith Wharton, Henry James and many other artists. The book includes excerpts from Matilda Gay's Journal and is illustrated by Walter Gay's paintings.

    Published to coincide with the multimedia exhibition that opens at the Sterling and Francine Clark Art Institute and travels to the Walters Art Gallery and the Mint Museum of Art, this catalogue considers how urban, mercantile, Protestant America represented the Islamic world of the Middle East and North Africa in ways that say more about itself than the foreign culture.This gorgeously illustrated volume first looks at the use of Orientalist stereotypes by some of the country's most important high art painters of the nineteenth century: Frederic Edwin Church's treatment of the exotic terrain through a lens of deep religiosity; a more cosmopolitan reading of the harem girl by John Singer Sargent; the perfumed alternative to industrial capitalism conjured in the landscapes and market scenes of Samuel Colman and Louis Comfort Tiffany; and interpretations of the Orient as emancipatory by Ella Pell, the only major woman Orientalist. The book next traces the popularization of Orientalism in the decorative arts (including a few treasures from Olana, Church's Moorish-style home on the Hudson), on Broadway, and in Hollywood, as well as through advertising that linked consumer products with visual suggestions of exotic sexuality and through cultural objects, such as the Shriners' fez.The generous color plates show both an innocent romanticization of the Orient and a darker, heavily eroticized version of Oriental otherness. An excellent chronology and bibliography, in addition to expert essays by both Americanists and Islamicists, give context to absorbing images. Though a perfect companion for visitors to the exhibition, Noble Dreams, Wicked Pleasures is also for anyone seeking an uncommon take on the development of American self-understanding. Exhibition Schedule: ? The Sterling and Francine Clark Art InstituteWilliamstown, MassachusettsJune 11-September 4, 2000 The Walters Art GalleryBaltimore, MarylandOctober 1-December 10, 2000 The Mint Museum of ArtCharlotte, North CarolinaFebruary 3-April 22, 2001

    From Rubens to Dali, each artist's life and times, influences, legacy, and style are explored in depth. Each book analyzes a particular painting with regard to the history surrounding it, the techniques used to create it, and the hidden details that make up the whole, providing a thorough look at each artist's career. Included is a bibliography, a chronological reading of principle works, a brief life history, and listings of public collections featuring each artist.

    Each painting has been carefully redrawn and is ready to color--with crayons, colored pencils, markets, and your imagination. Accompanying each painting is a story that describes it and introduces you to the artist. See the world through the eyes of the great painters as you read these tales and color these pictures of kings, gypsies, flowers, parties, dancers, heroes, and more. Here are just some of the things you can do inside Masterpieces: Visit exotic Tahiti with Gaugin Choose a new suite for Gainsborough's Blue Boy Take a dance lesson with Degas See Venus, the goddess of love, rising from the ocean Watch the stars with van Gogh Join Renoir for a boating party Fight for liberty with Delacroix Meet Whistler's mother Spend a Sunday afternoon in the park with Seurat Go bird-watching with Audubon These priceless art treasures represent more than five hundred years of painting. Now you can color them yourself to create new masterpieces of your own.

    The intense interest that his work has generated in the past few years, and the fact that no North American museum has brought his work together in a solo exhibition, have motivated the organization of this first major show in the United States The exhibition features selections of his sculpture, photography, video, and works on paper highlighting the artist's use of diverse media and subject matter. The accompanying fully illustrated catalogue -- produced in collaboration with the artist himself -- is the most extensive book yet on Orozco, covering works from 1990 to 2000, and contains a comprehensive chronology, bibliography, and an exhibition checklist. In addition to an introduction by exhibition curator Alma Ruiz, there are essays by several scholars from the United States and Mexico, including Benjamin Buchloh, Professor of Art History at Columbia University, and the artist Damian Ortega, who has created a special project for the book.

    On Antiques Roadshow, experts tell people whether they have a "match" and are in possession of a valuable antique or simply have another run-of-the-mill object. Leigh and Leslie Keno, the twin-brother experts who appear on Antiques Roadshow, have now written a book chronicling their history of discovering rare antiques -- Hidden Treasures: Searching for Masterpieces of American Furniture.These brothers have literally spent a lifetime learning about antiques. By the time the boys were 12, they were already dealers and were more than a bit familiar with the world of flea markets, tag sales, and antique shops. Having been raised in a home where they learned that the intrinsic value of an antique lies in its rarity and beauty, the brothers took that knowledge and built a life around what quickly became an obsession.In Hidden Treasures the Kenos' passion is not explained in a dry, academic lecture; instead, they detail some of the most exciting antiques hunts they've had. Although they are both obviously experts, there are still pieces that experts can question or pass over because years of refinishing and reupholstering have disguised the original design. Sometimes even experts can feel like they're on the other side of the table at Antiques Roadshow. In Hidden Treasures the Kenos face some trials, but their skill and determination always leads them to success.The brothers, who alternate writing chapters, don't simply want to tell readers about the fun they have -- they want the readers to understand antiques. Hidden Treasures is filled with photographs of the rare and beautiful pieces discussed in the text. Many of the pieces are shown in a series of photographs to explain exactly why those pieces are works of such incredible craftsmanship.Reading Hidden Treasures will not turn someone into the experts that Leigh and Leslie are. But it does allow for a much greater understanding of the antiques world that they love. They teach readers to appreciate the beauty that can transform an everyday object into a work of art, and in doing so, they teach readers to keep their eyes open to the beauty that people miss every day.

    But he was drawn to both poetry and painting from boyhood and after early successes aimed to pursue a dual career. Strongly drawn to supernatural themes, his poems grapple with the mysteries of human passion and the loss of religious certainty. Varied in form as well as theme, his verse ranges from romantic ballads of betrayal and revenge through intricately wrought love sonnets to boldly erotic odes. There are simple lyrics, dramatic monologues, historical narratives, and several poems written for pictures. His poetry influenced the writing of Swinburne, Wilde, and other writers of the 1890s. This edition brings together everything published in his lifetime, including the early pre-Raphaelite tale "Hand and Soul" and his critical defense of his "fleshly" poems. Collected Writings of Dante Rossetti allows the reader to enter the world of pre-Raphaelite poetry, to study the interaction between verbal and visual art, and to assess Rossetti's place in the canon of Victorian literature.

    While these works have been analyzed extensively from artistic and historical perspectives, this book’s in-depth discussion also embraces many of the artist’s lesser-known pieces. Using a great variety of techniques, from drawing, painting, and printmaking to needlework and sculpture, her search for a personal means of expression is examined through lavish illustrations and edifying text.

    Thought-provoking page spreads pair Matthew Barney, Kara Walker, and Jia Zhang Ke; Gabriel Orozco, Chris Ofili, and Jeanne Dunning; Rineke Dijkstra and Philippe Starck; Jenny Holzer and Robert Gober; Mona Hatoum and Teiji Furuhashi; Philip-Lorca diCorcia, Juan Snchez, Raymond Pettibon, and Rosemarie Trockel; Lari Pittman, Gary Hill, and General Idea; and David Wojnarowicz and Bruce Nauman to name a few. The first publication to address the extensive holdings of contemporary art in the collection of The Museum of Modern Art, New York, Modern Contemporary covers an international spectrum of art in a variety of mediums, all made within the final two decades of the 20th century. Organized chronologically and encompassing a prime selection of painting, sculpture, architecture, photography, drawings, design, prints, film, and video, this rich and varied array of art from 1980 until now offers a virtual compendium of the visual culture of our own time.

    The Kinsey photo collection numbers 75,000, but only recently have the images emerged from the archives. Peek is the first book to showcase highlights of this extraordinary research. The 125 images are culled from anonymous snapshots, photo albums, photo-illustrated diaries, and 19th- and 20th-century erotica from Europe and Asia, as well as works by such luminaries as George Platt Lynes, Baron Wilhelm von Gloeden, and Joel-Peter Witkin. Accompanying essays by four scholars offer historical and cultural context.

    Treating these developments as interrelated, he analyzes both visual material and literary texts to portray a culture in which art came to be thought of in powerful new ways. Ultimately, Siegel shows that artistic controversies commonly associated with the self-consciously radical movements of modernism and postmodernism have their roots in a dynamic era unfairly characterized as staid, self-satisfied, and stable.The nineteenth century has been called the Age of the Museum, and yet critics, art theorists, and poets during this period grappled with the question of whether the proliferation of museums might lead to the death of Art itself. Did the assembly and display of works of art help the viewer to understand them or did it numb the senses? How was the contemporary artist to respond to the vast storehouses of art from disparate nations and periods that came to proliferate in this era?Siegel presents a lively discussion of the shock experienced by neoclassical artists troubled by remains of antiquity that were trivial or even obscene, as well as the anxious aesthetic reveries of nineteenth-century art lovers overwhelmed by the quantity of objects quickly crowding museums and exhibition halls. In so doing, he illuminates the fruitful crises provoked when the longing for admired art is suddenly satisfied. Drawing upon neoclassical art and theory, biographies of early nineteenth-century writers including Keats and Scott, and the writings of art critics such as Hazlitt, Ruskin, and Wilde, this book reproduces a cultural matrix that brings to life the artistic passions and anxieties of an entire era.

    Illustrated with over 200 photographs of glass and ceramic objects, this book takes a comprehensive look at modern tableware used in American homes, focusing on its cultural and business history, as well as its design.

    Orozco continues his experimentations with perceptions of gravity and weight in Photogravity, his latest installation at the Philadelphia Museum of Art. Here, photographs of pre-Columbian sculptures from the museum's Louise and Walter Arensberg Collection share gallery space with photographs of Orozco's own pieces. Homogenizing and juxtaposing photography and sculpture -- and endowing each with properties of the other -- Orozco creates unexpected visual relationships and invites dialogue between the two mediums. Published on the occasion of the exhibition in Philadelphia, this book presents the visually unexpected, creating a colorful combination of writings and collages from the artist's notebooks, his photographs and sculptures, and the Arensberg's pre-Columbian works.

    It includes buildings such as Notre-Dame-de-Paris, Cluny, and Chartres.

    Each book contains 50 key paintings, 20 gorgeous details and a brief introduction by an eminent art historian mapping out the significant details of the artist's career.

    Born in an era of crisis, the Symbolist art movement was characterized by withdrawal to a mystical, antibourgeois world of the mind and spirit. While Symbolists idealized the "poète maudit," a creative, mad genius exhibiting an emotional state of heightened awareness and "passionate discontent," female artists displaying similar symptoms were dismissed as hysterical.Art historian Patricia Mathews traverses the artistic, social, and scientific discourses of fin-de-siècle France in order to illuminate the Symbolist construction of a feminized aesthetic that nonetheless excluded female artists from its realm. Along the way, Mathews proffers important new readings of the art of such Symbolists as Gauguin, van Gogh and Moreau, as well as that of their female contemporaries Camille Claudel and Suzanne Valadon. Passionate Discontent is an important contribution to art historical and women's studies.

    Each volume is written by an internationally recognized authority and is generously illustrated with full-color reproductions of the artist's paintings and two-color reproductions of sketches and line drawings.

    Responding to the popular success of the exhibit and catalogue, Diana E. E. Kleiner and Susan B. Matheson here gather ten additional essays by specialists in art history, history, and papyrology to offer further reflections on women in Roman society based on the material evidence provided by art, archaeology, and ancient literary sources. In addition to the editors, the contributors are Cornelius C. Vermeule, Rolf Winkes, Mary T. Boatwright, Susan Wood, Eve D’Ambra, Andrew Oliver, Diana Delia, and Ann Ellis Hanson. Their essays, illustrated with black-and-white photos of the art under discussion, treat such themes as mothers and sons, marriage and widowhood, aging, adornment, imperial portraiture, and patronage.

    The author argues that this era was in truth a dark age, from the perspective both of scholarship and the people who lived through it conscious of lost skills and departed glories. The recession was caused, he demonstrates, not by external factors but by aprocess of internal collapse.

    'Abd al-Malik. This book provides a detailed study of this Mosque. Using textual, visual, and archaeological evidence, the author attempts to reconstruct some of the basic formal and decorative features of the Umayyad mosque, to locate it within its broader urban context, and to consider its role within al-Walīd's unprecedented programme of architectural patronage. The work explores the intracultural and intercultural functions of religious architecture within an official visual discourse intended to project a distinctive Muslim identity in a manner determined by Umayyad political aspirations. It will be of particular interest to those concerned with the relationship between the Umayyad caliphate and Byzantium.

    It was believed to have magic power, it was able to arouse anxiety, and it was the subject of lengthy texts by both men and women. In Visualizing Women in the Middle Ages, Madeline H. Caviness interrogates twentieth-century theories of the gaze and concedes that the male gaze--first articulated by Laura Mulvey and a cornerstone of much feminist criticism--is useful for understanding a cultural code of patriarchy in the high Middle Ages. However, she argues, one should take into account the many varying visual modes that proliferated in the medieval era. For Caviness, an awareness of historical context places pressure upon contemporary theories like that of the male gaze, changing their shapes and creating even richer dialogues with the past.In a series of readings, Caviness demonstrates how looking functions within the much broader contexts of language and desire. The Old Testament story of Lot yields the material with which Caviness addresses the Mulveian gaze. In the narrative and in medieval visual representations of the story, she explores the biblical proscription of and anxieties about women looking. She then turns to medieval depictions of the torture of female saints and investigates how such images were not erotic in the Romanesque abstract modes but became disturbingly sexualized and sadistic in the more graphic renditions of the Gothic. Finally, Caviness looks at the distribution of relics of female saints in relation to Lacan's notions of the abject. Here she shows how the female body is de-eroticized and re-encoded as parts become metonymies for the whole and are revered as holy objects.

    It traces the lengthy history of dyes and pigments.