Hockney’s extensive research led him to conclude that artists such as Caravaggio, Velázquez, da Vinci, and other hyperrealists actually used optics and lenses to create their masterpieces.In this passionate yet pithy book, Hockney takes readers on a journey of discovery as he builds a case that mirrors and lenses were used by the great masters to create their highly detailed and realistic paintings and drawings. Hundreds of the best-known and best-loved paintings are reproduced alongside his straightforward analysis. Hockney also includes his own photographs and drawings to illustrate techniques used to capture such accurate likenesses. Extracts from historical and modern documents and correspondence with experts from around the world further illuminate this thought-provoking book that will forever change how the world looks at art.Secret Knowledge will open your eyes to how we perceive the world and how we choose to represent it.

    This seventh edition has been revised and expanded and six new authors have been selected. Every image from the previous edition has been enhanced/refreshed using modern imaging technology.

    In this essential volume, Geoff Dyer has brought together a rich selection of many of Berger’s seminal essays. Berger’s insights make it impossible to look at a painting, watch a film, or even visit a zoo in quite the same way again. The vast range of subjects he addresses, the lean beauty of his prose, and the keenness of his anger against injustice move us to view the world with a new lens of awareness. Whether he is discussing the singleminded intensity of Picasso’s Guernica, the parallel violence and alienation in the art of Francis Bacon and Walt Disney, or the enigmatic silence of his own mother, what binds these pieces throughout is the depth and fury of Berger’s passion, challenging us to participate, to protest, and above all, to see.

    Widely acknowledged as both beautiful and intelligent, a sourcebook of art informed by feminism from the 1960s to the start of the 21st century, now available in paperback.

    . . . Shiner's text is scholarly but accessible, and should appeal to readers with even a dabbler's interest in art theory."—Publishers Weekly"The Invention of Art is enjoyable to read and provides a welcome addition to the history and philosophy of art."—Terrie L. Wilson, Art Documentation"A lucid book . . . it should be a must-read for anyone active in the arts."—Marc Spiegler, Chicago Tribune Books

    One of surrealism's defining themes, desire was expressed variously in Dali's charged landscapes, Mir�'s lyric abstractions, and Bellmer's unsettling nudes. Influenced by Freud, the surrealists saw sexual desire as a path to self-knowledge--a theatre of provocations and prohibitions in which life's most profound urges confront one another. Published to accompany a major transatlantic exhibition of international surrealism, this lavishly illustrated catalogue explores desire in surrealist art in both words and images. Key works by such artists as Duchamp, Magritte, Ernst, Dali, de Chirico, Giacometti, Bellmer, Oppenheim, and Cahun are illustrated and discussed, as are surrealist films and photographs by Man Ray, Brassa�, and others. The volume also features some of the rare and beautiful books produced by the surrealists in their celebration of love, as well as a selection of fascinating manuscripts, letters, and documentary photographs that reveal the personal contexts of the group's exploration of desire. Essays by leading scholars show how the theme of desire was implicated in almost all aspects of surrealist activity--not only its art and writings, but also its political struggles and its ethical stances on issues involving individual liberty and the social control of sexuality. This attractive and provocative volume illustrates a vision of desire that embraces both sublime exaltation and dark carnality. It shows the unprecedented intensity with which the surrealists extolled love and the extent to which they depicted desire as implicated in every thought, action, event, and encounter. A major contribution to surrealist studies, this volume is edited by Jennifer Mundy, and has contributions from Dawn Ades, Katharine Conley, Neil Cox, Carolyn J. Dean, Hal Foster, Vincent Gille, Jean-Michel Goutier, David Hopkins, Radovan Ivsic, Julia Kelly, Annie Le Brun, David Lomas, and Alyce Mahon. EXHIBITION SCHEDULE:Tate Modern, LondonSeptember 20, 2001-January 1, 2002The Metropolitan Museum of Art, New YorkFebruary 6, 2002-May 12, 2002

    World War II brought unprecedented pride and prosperity to the American people and nothing better mirrors the new wave of consumerism and progress than the ads of the time.

    With more than 400 color reproductions and a compact handheld size, this book manages to be affordable and comprehensive. It's like a catalogue raisonne that fits in a backpack. This accessible format is a perfect match for the paintings of Rene Magritte-one of the few twentieth-century painters whose works are immediately approachable and who has an enduring cultlike following. His surrealistic and mysterious visions always provoke introspective thought and imagination. All of Magritte's most characteristic and beloved motifs-the green apple, the bowler hat, and the dreamlike twilight hour-make their appearance, along with some surprising lesser-known paintings. The artist's method and meaning is explored in an intriguing essay by Robert Hughes, the art critic for "Time" magazine and acclaimed commentator on art and culture. A hip and current update on this timeless artist, "The Portable Magritte" makes an ideal gift for students as well as art lovers of any age.

    By magically combining contemporary and traditional artistic styles, Sharma creates icons of Hindu gods and goddesses that are altars of worship for millions. Steeped in India's ancient Vedic cosmology, these prayerful, captivating paintings contain a complete who's who of the Hindu pantheon. Ganesh, Shiva, Laxmi and Krishna come alive as divine forms in this unique and richly colored work.

    Full-color illustrations.

    From the creation of the first state on the banks of the Nile to its submission to the Roman empire, the millennial story of ancient Egypt is recounted here through the artistic masterpieces, the everyday objects, the spectacular jewels, and the magnificent remains from the tombs of the pharaohs, all remarkably assembled within the walls of a single institution.Structured as a guide, but fully illustrated with superb color photographs, this book suggests a simple but comprehensive itinerary through the museum, subdividing the tour into chapters devoted to the most important episodes in Egyptian history. Collected during the course of over a century of archaeological excavations, jewelry, tools, toys, models, religious objects, mummies, and monumental sculptures offer vivid glimpses of a formidable civilization. The rich funerary cache of Tutankhamun, the treasures of Tanis, and the jewels of Queen Ahhotep reflect the glory of the Egyptian monarchy, but there are insights too into the day-to-day lives of the more humble sections of society. Previously unpublished photographs and plans alongside texts prepared by the museum curators themselves help readers to penetrate the corridors and halls of the great museum in search of a heritage unique in its richness and variety, following in the footsteps of the great figures in Egyptian history: from the pharaohs, suspended between heaven and earth, to the archaeologists who, with their patient excavations, have helped to shed new light on the land of the pyramids.

    Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself.Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

    John T. Spike explores in detail Caravaggio's scandalous life and provocative work. Placing Caravaggio within the broad panorama of society and ideas at the turn of the 17th century, the author sets a detailed stage for an artist who has been called "the first modern painter." Caravaggio (1571-1610) reflected in his canvases his own desires and spiritual crises to an extent no one ever had imagined possible, and he shocked his contemporaries by portraying the saints and virgins of Christianity with the faces and bodies of his companions and lovers in Rome's demimonde. Accompanying the book is a CD-ROM in which all of Caravaggio's extant paintings, as well as lost and rejected works, are described. Each entry specifies the work's medium, dimensions, location, and provenance, and provides an annotated bibliography of sources. Most of the entries conclude with a brief technical analysis.

    This beautiful book presents the work of these two painters, exploring the artistic development of each, comparing their achievements and showing how both were influenced by their times and the milieus in which they worked.

    The expanding Greek world of Alexander the Great had an enormous impact on the Mediterranean superpower of Rome. Generals, rulers, and artists seized, imitated, and re-thought the stunning legacy of Greek painting and sculpture, culminating in the greatest art-collector the world had ever seen: the Roman emperor Hadrian.This exciting new look at Classical art starts with the excavation of the buried city of Pompeii, and investigates the grandiose monuments of ancient tyrants, and the sensual beauty of Apollo and Venus. Concluding with that most influential invention of all, the human portrait, it highlights there-discovery of Classical art in the modern world, from the treasure hunts of Renaissance Rome to scientific retrieval of artworks in the twenty-first century.

    The world's happiest paintings. Auguste Renoir's timelessly charming paintings are the embodiment of happiness, love, and beauty. TASCHEN's Renoir, the most complete retrospective book of this painter's work, examines in detail the history and motivation behind the legend. Though he began his career painting landscapes in the impressionist style, Renoir (1841-1919) found his true affinity only after he began painting portraits, for which he abandoned the impressionists altogether. Though he was often misunderstood and criticized, Renoir remains one of history's most well-loved painters-undoubtedly because of the warmth and happy cheer his paintings exude. In his insightful text which details the artist's entire career and traces his stylistic evolution, Gilles Néret insists that Renoir reinvented the woman in painting through his everyday goddesses with overly plump, round hips and breasts; this last phase in Renoir's work, in which he returned to the simple pleasure of painting the female nude in his baigneuses series, was his most innovative and stylistically influential (it can even be said that it later inspired Matisse and Picasso). With a complete chronology, bibliography, index of works, and 600 gorgeous, large-format color reproductions, as well as photos and sketches illustrating Renoir's life and work, TASCHEN's Renoir is the essential reference book for this master painter.

    With a foreword by acclaimed artist Jim Dine and a preface by best-selling author Tom Wolfe, both devoted buttons aficionados, this book appeals to the serious collector and casual enthusiast alike.

    In the twenty-first century, commerce and culture are ever more closely entwined. This new collection of essays by design critic Rick Poynor takes a searching look at visual culture to discover the reality beneath the ultra-seductive surfaces. Poynor explores the thinking behind the emerging resistance to commercial rhetoric among designers, and offers critical insights into the changing dialogue between advertising and design. Other essays address the topics of visual journalism; brands as religion; the new solipsism; graphic memes; the pleasures of imperfect design; and the poverty of "cool." Around the world, many are now waking up to the dominance of huge corporations - invariably expressed by visual means. This pointed and provocative counterblast arrives at a moment when critical responses are vital if this mono-culture is to be challenged. It offers inspirational evidence of alternative ways of engaging with design, and it will appeal to any reader with a questioning interest in design, advertising, cultural studies, media studies, and the visual arts.

    His paintings, predominantly in a large format and featuring horizontal layers of pigment on a monochrome foundation, occupy a permanent place in our collective pictorial memory as an epitome of heroic Modernism. This beautifully produced oversize monograph presents over 100 of his works in full-color plates. By considering Rothko's central groups of works from all creative periods--among them the Rothko Room in the Phillips Collection and the Harvard Murals at Harvard University--this book documents the artist's struggle to arrive at "a consummated experience between picture and onlooker." Rothko's adamant insistence on controlling the presentation of his works set him apart from the art scene as early as the 1950s. His pictures were to be hung closely together in small rooms, in which soft lighting and imposing scale were to provide an immediate viewing experience. This book attempts to recreate that atmosphere with a large, uninterrupted plate section that brings to life the vibrancy and power of these paintings. In addition to more than 100 color works, "Mark Rothko" includes essays about specific groups of work, an extensive, year by year, descriptive chronology of his life and work, and an exhaustive bibliography of writings about him from the past five years. It is an essential addition to any collection on twentieth-century art.

    Published to coincide with an exhibition at Rome’s Scudrie del Quirinale on the four hundredth anniversary of Caravaggio’s death, this magnificent book reproduces fifty of his most important works from great museums around the world. Each work is accompanied by a page of die-cut windows that help the reader focus on specific aspects of each painting and features captions that highlight the most important details or subtle symbolism embedded in a painting. Called the most famous painter in Rome during his lifetime, Caravaggio is credited with bringing realism to painting, refining the technique of chiaroscuro, and inspiring the rise of the baroque. Among the masterpieces included are Boy with a Basket of Fruit, Bacchus, John the Baptist, Medusa, Judith Beheading Holofernes, Amor Victorious, Ecce Homo and The Flagellation of Christ.

    Each volume of the Art & Architecture series is opulently illustrated.

    2 takes the visual and historical presentation of the first volume to a richer level, offering an even broader array of artistic styles and media. Published in 2000, the first volume explored the diverse historical roots of the genre and introduced artists whose work recalled the South of the pre–civil rights era. This sequel brings the movement into the present, delving into the work of the current generation of artists who are creating a complex form of art that blurs the boundaries between folk and contemporary art.

    We learn how and where they lived and, crucially, with whom, in this study of the intimate framework of their social arrangements. Thoroughly researched and beautifully presented, this book fully exploits extensive collections of poetry and prose, as well as probing the revealing contents of diaries and letters of the period. Appropriately, many superb reproductions of the great Pre-Raphaelite masterpieces accompany the narrative.

    

    Much of the Situationist creed was produced in pamphlet form and these 3 were crucial in creating the Situationist legend. They provide both an introduction to the ideas of the Situs and a provocatively seductive invitation to a life of freedom & revolt which prefigues many of the themes of today's mass protestors. Illustrated throughout with photos of the May '68 events and the graffiti that played such a famous role. The 7"X7" size replicates size of the Parisian cobblestones used by the protestors.

    The Short Century is a broad survey of cultural life in Africa from the independence movements through the post-colonial era to the end of apartheid in 1994. Expansive, wide-ranging, and lavishly illustrated, this book studies achievements in all areas of the performing and fine arts, photography, literature, theater, architecture, music, and film.The Short Century includes the works of over 50 artists from the paintings of Mancoba and Sekoto during the fifties, through the drawings and theater projects of William Kentridge up to the installations and video works of Kay Hassan and Oladele A. Bamgboye.The great writers of the continent -- Soyinka, Senghor, and Cesaire amongst others --, Africa's filmmakers, architects and musicians, all of whom left their mark on the process of decolonialization, are studied here in depth. Renowned historians and cultural philosophers discuss the background of developments and analyse the ideological strategies employed by Western colonial powers to preserve their grip on African countries and peoples. A chapter on photojournalism supplemented by a detailed chronology of events and political movements presents the main stages of Africa's political history. A comprehensive anthology in the appendix contains some 30 historical documents, such as essays, speeches and political manifestos, shedding light on the key issues of the period.

    Included are many of the finest portraits of women (and a few of men) by Filippo Lippi, Domenico Ghirlandaio, Antonio Pollaiuolo, Botticelli, Verrocchio, and Leonardo da Vinci--whose remarkable double-sided portrait of Ginevra de' Benci, which departs notably from tradition, is the focus of special attention.It was in Florence during this period that portraiture expanded beyond the realm of rulers and their consorts to encompass women of the merchant class. This phenomenon, long known to scholars, is here presented to a larger audience for the first time. The catalogue, which accompanies an exhibition at the National Gallery of Art, traces how the humanist praise of women influenced and enlivened their depiction. It also considers how meaningful costumes and settings were chosen. Works from outside Florence by such masters as Pisanello, Rogier van der Weyden, and Ercole Roberti shed additional light on the evolution of female portraiture during the century from c. 1440 to c. 1540.An introduction by editor and exhibition organizer David Alan Brown and four engaging essays by other experts on Renaissance art--Dale Kent, Joanna Woods-Marsden, Mary Westerman Bulgarella and Roberta Orsi Landini, and Victoria Kirkham--perfectly complement the more than one hundred illustrations, which include ninety-seven full-color plates. The catalogue entries are concise while revealing the key aspects of each portrait--from style and sources to ongoing scholarly debates. This elegant, enlightening book is itself a telling portrait not only of the art but also of the broader issues of women's freedom, responsibility, and individuality in a most exceptional era.EXHIBITION SCHEDULE ? National Gallery of Art, Washington, D.C.September 30, 2001-January 6, 2002

    Emin's work is engaging, titillating, disturbing, and startlingly confessional. One of her most famous pieces is Everyone I Ever Slept With 1963-1995, a tent appliquéd with names. Another notorious work, My Bed—the scene where she spent four days contemplating suicide—was exhibited at Tate Britain when the artist was short-listed for the Turner prize in 1999. Though denounced by conservative critics at the outset, Emin's work has attracted serious critical attention for more than a decade. In the words of Art in America, "What brought Emin to prominence was shock value, but what keeps her work powerful as she continues is the strength and nuance of its form and content." Compiled in close collaboration with the artist herself—and unprecedented in its scope—this is the definitive book on Emin, featuring drawings, paintings, sculptures, appliqués and embroideries, neon and video stills as well as her own writing.

    Charting over 30 years of debate on the significance of gender in the making and understanding of art, this anthology gathers together 99 representative texts from North America, Europe and Australasia.

    This volume - investigating the work of a particular photographer, in this case, Eugene Atget - comprises a 4000-word essay by an expert in the field, 55 photographs presented chronologically, each with a commentary, and a biography of the featured photographer.

    This important book revises that image, showing that the small but vibrant Dutch city produced fine examples of all the major arts -- including luxury goods and sophisticated paintings for the court at The Hague and for patrician collectors in Delft itself. The book traces the history and culture of Delft from the 1200s through the lifetime of the city's most renowned painter, Johannes Vermeer. The authors discuss at length some ninety major paintings (seventeen by Vermeer), forty drawings, and a choice selection of decorative arts, all of which are reproduced in full color. Among the paintings are state portraits, history pictures, still lifes, views of palaces and church interiors, illusionistic murals, and refined genre pictures by Vermeer and Pieter de Hooch. The rich works on paper encompass exquisite drawings by Delft artists and sketches of the town by visiting artists. Included in the decorative arts are tapestries, bronze statuary, silver, Delftware, and glass. The volume concludes with an essay that takes the reader on a walk through seventeenth-century Delft. It is accompanied by maps of the city's neighborhoods that indicate major monuments and the homes of patrons, art dealers, and painters.

    Disturbing and controversial, Bellmer's dolls—with their uncanny, fragmented bodies and eroticized poses—were just as shocking during Bellmer's time as they are today. Until now there has been little available in English about Bellmer's dolls, and Lichtenstein's book will be welcomed for its fresh interpretation of the artist's work and his place in European modernism. Eighty striking photographs accompany the text.Working during a time when Nazism was on the rise, Bellmer created several dolls with fragmented bodies that could be dismantled and arranged in various configurations. Using a narrative format, he then photographed the dolls in a range of grotesque—often sexual—positions. The images he conveyed were of death and decay, abuse and longing, in stark contrast to Nazism's mythic utopian celebration of adolescence.Lichtenstein interprets Bellmer's complex expressions of eroticism as a protest against the Nazis and also against his father, a cold and repressive Nazi sympathizer. At the same time, she says, by hyperbolically flaunting a passive femininity in a theatrical manner, Bellmer's images allow us to consider how cultural representations can affect the formation of identity and alternative possibilities.

    Greek and Roman art methods, medieval techniques, tempera painting, van Eyck's revolutionary use of oil paints, Flemish methods of preparing colors, methods of 18th-century British artists, technical secrets of Italian schools, including such masters as Leonardo, Raphael, Correggio, Andrea del Sarto, and more.

    Indeed, for many people the sunflower has become synonymous with his art. Published in conjunction with the Art Institute of Chicago's exhibition of work by van Gogh and Gauguin, this book considers the flower's significance from pre- Columbian times to the early twentieth century.The numerous full-color illustrations celebrate the image of the sunflower from its first appearance in sixteenth-century botanical texts to present-day representations. Brief essays and reproductions survey the chronology of the sunflower in art and literature, highlighting its presence in the work of the Symbolists and the British Aesthetic movement, as well as in Realist and Impressionist paintings. The flower's representation in art and science creates a context for van Gogh's work, and Mancoff develops the image of the sunflower as a lasting emblem of the artist.

    In what would be his last home, he enjoyed the camaraderie of fellow artists and an unparalleled burst of creativity. The auberge still operates today as the Maison de Van Gogh. Little has changed since Van Gogh set down his bags more than a century ago, and visitors to its cafT are treated to the same regional cuisine that he dined upon.Here is an intimate view into Van Gogh's world, as stirring as sharing poulet and pommes sautTes with the artist himself. Written by one of America's foremost culinary historians, with Dr. Fred Leeman, the former chief curator of the Van Gogh Museum in Amsterdam, and including an introduction by the auberge's proprietor, this unique cookbook/art book explores life in the artists' cafT, with traditional recipes ranging from the hearty to the refined. Letters, engravings, postcards, and a selection of Van Gogh's paintings transport the reader to the turn of the century.

    Walt Disney's friend, partner, adversary and alter ego all rolled into one, Iwerks was responsible for creating Mickey Mouse, adding color, sound and 3-dimensionality to cartoons and basically revolutionizing live-action films with his inventions, innovations and sheer brilliance. Without Ub Iwerks, we would not have the joy of seeing Donald Duck dancing with Aurora Miranda, Hayley Mills singing with herself or the Birds terrorizing Tippi Hedren in Alfred Hitchcock's masterwork. Without Ub Iwerks, we could not have experienced the thrill of the Haunted Mansion, Pirates of the Caribbean or Circlevision to the same extent. Without Ub Iwerks, we could not have the technology available to allow the current generations of filmmakers -- people like George Lucas and Steven Spielberg -- to create worlds and effects that are truly unbelievable. Ub Iwerks' creations are legendary, but in The Hand Behind the Mouse, we get to see for the first time, the intimate and personal story of the man himself -- Ub Iwerks.

    Ranging geographically from Poland to Portugal and from Sicily to Scotland and chronologically from 1093 to 1530, the book analyzes changes from Romanesque to Gothic as well as the evolution within the Gothic style and places these changes in the context of the creative spirit of the Middle Ages. In its breadth of outlook, its command of detail, and its theoretical enterprise, Frankl’s book has few equals in the ambitious Pelican History of Art series. It is single-minded in its pursuit of the general principles that informed all aspects of Gothic architecture and its culture. In this edition Paul Crossley has revised the original text to take into account the proliferation of recent literature—books, reviews, exhibition catalogues, and periodicals—that have emerged in a variety of languages. New illustrations have also been included.

    Like many artists, Munch did not limit himself to visual expression. For much of his career, he wrote almost as much as he painted, and many of his major art works began as literary sketches. However, as this gorgeous and unusual volume makes clear, Munch did not write to explain his art, but as an extension of it. Poul Erik Tojner's careful and insightful analysis of Munch's writings, many of which have been preserved in the Munch Museum in Oslo, reveals the deep connection between writing and painting in Munch's life. Ingeniously organized by themes, the book presents beautiful reproductions of paintings, prints, and journal excerpts as they deepen our understanding of this compelling artist and provide interesting clues to the themes he returned to again and again.

    1920) developed his visionary architectural project New Babylon between 1956 and 1974. Emerging out of the remarkable activist group the Situationist International, the project was concerned with issues of "unitary urbanism" and the future of art in a technocratic society. It has had a major impact on subsequent generations of artists, architects, and urbanists. Exploring the intersection of drawing, utopianism, and activism in a multimedia era, "The Activist Drawing" not only traces this historical moment but reveals surprisingly contemporary issues about the relationship between a fully automated environment and human creativity.Several decades before the current debate about architecture in the supposedly placeless electronic age, Constant conceived an urban and architectural model that literally envisaged the World Wide Web. The inhabitants of his New Babylon drift through huge labyrinthine interiors, perpetually reconstructing every aspect of the environment according to their latest desires. Walls, floors, lighting, sound, color, texture, and smell keep changing. This network of vast "sectors" can be seen as a physical embodiment of the Internet, where people configure their individual Web sites and wander from site to site without limits. With its parallels to our virtual world, New Babylon seems as radical today as when it was created.The essays explore the relevance of Constant's utopian work to that of his peers in the Situationist International and experimental architectural movements of the 1960s, as well as later generations of architects and artists. They use Constant's revolutionary project as a springboard to reconsider the role of drawing in an electronic age.Copublished with the Drawing Center, New York City.Contributors Benjamin Buchloh, Constant Nieuwenhuys, Rosalyn Deutsche, Catherine de Zegher, Elizabeth Diller, Tom McDonough, Martha Rosler, Bernard Tschumi, Anthony Vidler, Mark Wigley.

    

    The Lenbachhaus in Munich, Germany, possesses the world's finest collection of works by these artists.

    The colour plates include both Cubist masterpieces and works marking the transition to other viewpoints in contemporary art.

    Taking a wholly different perspective on Ernst and alchemy, however, M. E. Warlick persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of the late nineteenth and early twentieth centuries, and Warlick sets Ernst’s work squarely within this movement. Looking at both his art (many of the works she discusses are reproduced in the book) and his writings, she reveals how thoroughly alchemical philosophy and symbolism pervade his early Dadaist experiments, his foundational work in surrealism, and his many collages and paintings of women and landscapes, whose images exemplify the alchemical fusing of opposites. This pioneering research adds an essential key to understanding the multilayered complexity of Ernst’s works, as it affirms his standing as one of Germany’s most significant artists of the twentieth century.

    Ever since the Lumiere brothers' first moving pictures were greeted by astonished gasps in 1895, the movies have exerted an extraordinary and wide-reaching influence over us. The history of the cinema is a record of our rapidly changing world and the lively newspaper-style approach of cinema Year by Year brings unprecedented immediacy to this irresistible story. Ready-reference pages list the key events and Oscar winners for each year, and over 3,000 illustrations bring new life to the stars and scenes of over a century of film history. This unique reference work is the most entertaining and detailed illustrated history of cinema ever published. The revolutionary medium of film has reflected and shaped our culture for over a century. In this absorbing, fully up-to-date 2001 edition, Cinema Year by Year takes you on an exhilarating voyage through the world of movies, from their birth in the 1890s to the technical ingenuity of the present day. Crammed with stunning movie stills, studio portraits, "behind-the-screens" photographs, and classic posters. Over 970 authoritative pages are packed with key movie events and facts and figures, while the easy-to-use, ready-reference pages pinpoint the movie highlights of each year. Includes an in-depth look at the complex, demanding, and fascinating work of the movie-makers and the stars. Special features examine different aspects of film history, including The Silent Era, The New Wave, Special Effects, and The Rise of the Independent Film.

    Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.

    One result of this instability was that many religious practices moved from the church to the home, and the retablo art form--sacred paintings on tin--flourished.With over 1,700 objects, New Mexico State University holds the largest collection of retablos of any museum in the United States. Eleven eminent Latin Americanists from the U.S. and Mexico have studied this collection and placed it in a broad cultural context. They have looked at the retablos from the standpoint of art history, history, anthropology, folk art, and religion to bring a new understanding of and appreciation for these paintings. This interdisciplinary approach brings together multiple influences in considering, for example, Baroque images as popular icons, Aztec gods and home altars, popular images in nineteenth-century Mexico, European and viceregal paintings, and bultos and santos from New Mexico. The richly varied retablo tradition continues to the present, making this volume a much-needed addition to the literature on the complex society that formed along the Camino Real between Mexico City and Santa Fe.In addition to the essays, the book includes restoration philosophy and conservation methods, a glossary, chronology, maps, and a comprehensive section on the art and iconography of each object in the Art Gallery collection.

    This extraordinary book about an extraordinary woman weaves together three stories-the remarkable career of a woman in a man's profession during the late 19th century; the creation of a building and interior style drawn from regional history and landscape; and the exploitation, largely at the hands of the railroads, of the American Southwest for leisure travel.

    The text opens with the late Byzantine work of Cimabue and concludes with the transition to Mannerism. The author’s focus is on the most important and innovative artists and their principal works, with a clear emphasis on selectivity and understanding. Italian Renaissance Art also focuses on style and iconography, and on art and artists, incorporating different methodological approaches to create a wider understanding and appreciation of the art.Distinguishing features of this text include: Over 400 illustrations, with 215 in full color, are integrated with the text, and large enough to properly view. In depth coverage on the most important and innovative artists and their principle works throughout Italy. Side boxes that provide additional material on techniques, biographical data, descriptions of artistic media, as well as necessary background information are used in every chapter. “Controversy” boxes introduce some of the ongoing scholarly quarrels among Renaissance art historians. Maps, plans, and diagrams are also included throughout. A historical chronology, a full glossary of art-historical terms, and a select bibliography are also included at the end of the text.

    Drawing on new archaeological discoveries and his own analyses of Roman monuments, the author discusses how the ancient architects dealt with the principles of architecture and the practicalities of construction as they engaged in the creative process."A careful, sensible, and delightful consideration of all aspects of building in ancient Rome that will provide new insights for young and old scholars alike."-Carol Richardson, Art Book; "Wilson Jones's excellent work combines the knowledge of a practicing architect with that of an architectural historian."-Choice; "This is an important work which throws new light on a number of aspects of Roman construction. It is well illustrated by the author's own drawings, by reproductions from classical works on the subject, and by excellent colour photographs."-Architectural Science Review Author Biography: Mark Wilson Jones is an architect in private practice and an architectural historian. Winner of the 2002 Alice Davis Hitchcock Medallion, Winner of the 2001 Sir Banister Fletcher Award

    Considered one of the most perfectly realized visions of harmony between people and their natural surroundings, Olana is a landmark of Picturesque landscape gardening with a Persian-inspired house at its summit embracing unrivaled panoramic views of the Hudson Valley. A rare American confluence of art and farming, aesthetics and conservation, landscape painting and landscape design, Olana represents a masterpiece of human creative genius. Features 74 photographs (31 full-color paintings and house interiors) and a foreword by Franklin Kelly, National Gallery of Art.

    Following changing attitudes toward sculpture through the nineteenth and twentieth centuries, Potts analyses for the first time the radical transformation that has occurred not only in the nature of sculptural works but also in their display and reception. He focuses on a broad range of texts by major writers who have in some way been obsessed by sculpture, including Johann Gottfried Herder, Charles Baudelaire, Walter Pater, Rainer Maria Rilke, Carl Einstein, Adrian Stokes and Clement Greenberg, and such artist-theorists as Adolf Hildebrand and Donald Judd. Potts also offers a detailed view of selected iconic works by sculptors ranging from Antonio Canova and Auguste Rodin to Constantin Brancusi, David Smith, Carl Andre, Eva Hesse and Louise Bourgeois - key players in modern thinking about the sculptural. The impact of minimalism features prominently in this discussion, for it disrupted accepted understanding of how a viewer interacts with a work of art, thereby placing the phenomenology of viewing three-dimensional objects for the first time at the center of debate about modern visual art."--BOOK JACKET.

    In this lively and literate study, the first book-length exploration of the artist, Alexander Nemerov presents a radical new reading of these paintings focusing on the uncanny quality of Raphaelle's still-life objects. Nemerov argues that the physical presence of these objects is not strictly their own but that of the artist's body. This imagery of embodiment, Nemerov argues, relates deeply to Raphaelle's own time. The Body of Raphaelle Peale focuses on not just Raphaelle's paintings but also the visual and intellectual culture of early-nineteenth-century Philadelphia, to which these works intimately relate. More broadly, the book presents a reading of romanticism in the American visual arts. Above all, it is an argument about selfhood in Raphaelle's era. Raphaelle's focus—in paintings both playful and morbid—was the pleasures and horrors of being a mere body, of being less than a self.Nemerov's primary source of evidence in this study is Raphaelle's art itself. After considering its theoretical and historical implications, he returns to the images, deftly guiding us to a fresh understanding of these remarkable paintings. Nemerov's formal analysis is infused with a sophisticated awareness of interdisciplinary issues, and he gracefully balances the formal, the theoretical, and the historical throughout his narrative. This beautifully illustrated study is sure to stimulate renewed appreciation of an exceptional American artist.

    Craftsmen the world over have set their imaginations to work, using every available material. Firstly they used flowers and grass, feathers and horns, wood, shells, and ivory. Mines and alluvional deposits offered stones and metals. Bold travellers and adventurous sailors set off in search of exotic goods.Their symbolism is also rich and complex: for the Kikuyu tribe in Kenya, a person's prestige is measured by the number of ear ornaments, as long as their lobes can stand without tearing. Statues of Buddha show him with long ears. In the archipelagos of Indonesia, the suitor's family offers earrings to seal an alliance. Leather earrings with pearls are a sign of a married woman's status for Masai. In the Philippines and among the Naga headhunters, the men's hunting exploits and prowess as warriors are embodied in the jewellery theywear on their ears.

    This book presents 300 artists and over 400 works chronologically and categorized by schools, giving a summary of the last 800 years in art.

    Sebastians pierced with arrows, self-portraits of the aging Rembrandt, and the tortured art of Vincent van Gogh. Exploring the tender, complex rapport between art and pain, Spivey guides us through the twentieth-century photographs of casualties of war, Edvard Munch's The Scream, and back to the recorded horrors of the Holocaust. Beauty and disfigurement, violence and thrill, horror and comfort—these are pairings fostered throughout Western art, for causes as various as religious martyrdom, judicial torment, artistic virtuosity, and erotic gratification. The ancient Greeks invented tragic drama: but how far was pity for tragedy's victims tempered by the notion of just deserts? The first Christians preached Christ Crucified: why then did it take some five hundred years before images appeared of Christ on the cross? The Massacre of the Innocents was an event that never happened: for what reasons were artists of the Italian Renaissance so eager to show it convincingly?Enduring Creation reveals the amazing power of art to console, to warn, to prepare the viewer for the harsher experiences of life, raising intriguing questions: Can pain be beautiful? Do we always pity suffering? Are sainthood and sadomasochism linked? This compelling study concludes with a positive message of hope for the enduring human spirit.

    Covering the gamut of modern art the collection includes essays by David Bowie on Tracey Emin, A.S. Byatt on Patrick Heron, David Hockney on Picasso, Sister Wendy Beckett on Salvador Dali, and Julian Barnes on Edgar Degas. This stimulating anthology features rare interviews and over 350 stunning full-color reproductions of many rarely seen works.

    The encyclopedic cabinet of curiosities serves as a model for this study of the archaic instruments lurking in state-of-the art technology. Featured in Devices of Wonder are android automata, lunar landscapes, perspective theaters, vues d'optique, microscopes, magnetic games, magic lanterns, camera obscuras, boxes by Joseph Cornell, Lucas Samaras's Mirrored Room, Suzanne Anker's Zoosemiotics, Mark Tilden's UniBug 3.1, panoramic works by Jeff Wall and Giovanni Lusieri, paintings by Jean-Baptiste Chardin and Joseph Wright of Derby, projections by Diana Thater and James Turrell, and a pop-up book by Kara Walker. Barbara Stafford's introduction weaves these fascinating artifacts into a provocative narrative analyzing the complex links between old and new media. Her wide-ranging investigation is complemented by thirty-one short essays in which Frances Terpak tracks the often surprising connections among individual items. Like the cabinet of curiosities, Devices of Wonder functions as an analogical instrument, reframing the beautiful "eye machines" that continue to mediate our encounters with the world. This book is published in conjunction with an exhibition at the Getty Museum from November 13, 2001, through February 6, 2002.

    Man Ray, the renowned photographer, was there to document it all: he took his camera into cafes, salons, artists' studios, and writer's homes, and the resulting pictures provide a singular -- and intimate -- perspective on this legendary period in cultural and art history.Well-known cultural and social historian Herbert R. Lottman interweaves Man Ray's biography, filled with intriguing stories of artists, models, dealers, poets, and hangers-on, with his stunning black-and-white images of everyone from Picasso, Duchamp, Dali, and Gertrude Stein to the famed model Kiki, poet Andre Breton, and Marcel Proust on his deathbed. The result is an enthralling view of that remarkable time and place, a subject that has endless appeal.

    The examples of truly great combinations of photographic image and text, great design and typography bound together as books are numerous, and make up an impressive artistic, social, and documentary statement of the 20th century. Writer and rare book expert Andrew Roth has selected for this volume a group of 101 of the best photography books ever published: books that bring all of the elements of great bookmaking together to create, ultimately, a thing of beauty, a work of art. Mostly made up of publications in which the photographs were meant to be seen in book form, as opposed to the book being merely a repository of images, this list includes many artists and titles that will be familiar to the collector, but also not a few surprises. Chronologically, the first book is Volume One of Edward Curtis's seminal 1907 "The North American Indian," the last is David LaChapelle's "LaChapelle Land" from 1996, and in between are books by Walker Evans and Berenice Abbott, Atget and Brassai, Robert Frank and Garry Winogrand, and many other seminal photographers from all over the world. Each book in the catalogue receives a double page spread including publication information, several image spreads, and a short text about it. "The Book of 101 Books," however, is far more than simply an annotated and illustrated catalogue. Six important new essays on a variety of related topics from respected scholars, critics, and artists are included as well: here you will find Richard Benson on the history of printing techniques, Shelley Rice on the societal significance of photography books, May Castleberry on reprints, exhibitions, and keeping books alive for the public; Daido Moriyama on his personal memories of making his classic "Bye Bye Photography, Dear," Neville Wakefield on the particular attributes of one of the most recent books in this group: Richard Princeís 1995 "Adult Comedy Action Drama," and Jeffrey Fraenkel on the myriad perils of publishing photography books. The catalogue entries themselves are written by the well known critics Vince Aletti and David Levi Strauss. Taken together, the depth and beauty of these essays and images makes "The Book of 101 Books" both an essential reference and an aesthetically compelling object. In order to insure safe delivery for this item we can only ship Federal Express 3rd Day. An additional charge of $25.00 will be added to your purchase.

    In the 1990s she was embraced by the rest of the country when the landmark exhibition of her work The Illuminated Life of Maud Lewis travelled across Canada. By the time the tour was over, half a million people had become acquainted with her delightful work.Between 1938, when she married Everett Lewis, until her death in 1970, Maud Lewis lived in a tiny one-room house near Digby, Nova Scotia. Over the years, she painted the doors inside and out, the windowpanes, the walls and cupboards, the wallpaper, the little staircase to the sleeping loft, the woodstove, the breadbox, the dustpan, almost everything her hand touched. Her house was a joy to behold, and it became a magnet for tourists as well as a focal point in her village. In 1979, after Everett Lewis died, the Maud Lewis Painted House Society worked diligently to raise funds to acquire, preserve, and display the house as part of the cultural heritage of the area as well as a memorial to their beloved artist.In 1984, the house and its contents were purchased by the Province of Nova Scotia for the Art Gallery of Nova Scotia. In The Painted House of Maud Lewis, Laurie Hamilton, the conservator at the Art Gallery of Nova Scotia, shows how all the different parts of the house -- the building itself, the painted household items, even the wallpaper -- were catalogued, conserved, and prepared for exhibition. The preliminary stages of conservation treatment began in 1996 in a most unusual location: the Sunnyside Mall in Bedford, just outside Halifax, where conservators worked in full view of the public. The conservators used established techniques and invented new ones to complete their unique project and documented every stage of the restoration photographically.The book also features more than sixty-five colour photos including several taken by noted photographer Bob Brooks in 1965 for the Star Weekly. Today, anyone can visit the tiny house that has become a folk art phenomenon. The restoration story spans two decades, but the story of the Painted House continues as each new visitor to the Art Gallery of Nova Scotia finds delight and inspiration in Maud Lewis's joyous vision.

    Picturing Chinatown contains more than 160 photographs and paintings, some well known and many never reproduced before, to illustrate how this famous district has acted on the photographic and painterly imagination. Bringing together art history and the social and political history of San Francisco, this vividly detailed study unravels the complex cultural encounter that occurred between the women and men living in Chinatown and the artists who walked its streets, observed its commerce, and visited its nightclubs. Artistic representations of San Francisco's Chinatown include the work of some of the city's most gifted artists, among them the photographers Laura Adams Armer, Arnold Genthe, Dorothea Lange, Eadweard Muybridge, and Carleton Watkins and the painters Edwin Deakin, Yun Gee, Theodore Wores, and the members of the Chinese Revolutionary Artists' Club. Looking at the work of these artists and many others, Anthony Lee shows how their experiences in the district helped encourage, and even structured, some of their most ambitious experiments with brush and lens. In addition to discussing important developments in modern art history, Lee highlights the social and political context behind these striking images. He demonstrates the value of seeing paintings and photographs as cultural documents, and in so doing, opens a fascinating new perspective on San Francisco's Chinatown.

    Garrard, author of the acclaimed Artemisia Gentileschi, furthers her study of the seventeenth-century artist in this groundbreaking investigation of two little-known paintings. Taking as case studies the Seville Mary Magdalene and the Burghley House Susanna and the Elders, paintings of circa 1621-22 attributed to Artemisia, Garrard examines the ways that identity, gender, and market pressures interact both in the artist's work and in the criticism and connoisseurship that have surrounded it.

    Although the fashion for unadorned form pushed ornament to the margins of Western taste in the twentieth century, an ornamental revival is now under way. This book introduces the global panorama of ornament and will be of value to crafts people, collectors, and students of art history. Trilling's approach is both visual and historical. With over 200 illustrations, he presents the dazzling variety of ornament so that the reader can appreciate both its inherent form and the role it has played in everything from the monumental architecture of Mycenaean Greece to the inlaid vessels of Zhou Dynasty China, from the bronze mirrors of Early Celtic Britain to the carved and woven ornament of the Indians of Alaska and British Columbia. The characteristics of individual styles are balanced against their evolution and interaction from the Paleolithic Age to the present day. Special attention is paid to patterns that migrate across large stretches of space and time, showing how ornament becomes a record of cultural interaction through trade, conquest, and the spread of religions. Finally, Trilling explores the fate of ornament since the beginning of modernism in the early twentieth century. Modernism actually nurtured a vibrant and original ornamental style of its own, one so different from traditional ornament that its true nature went virtually unrecognized. Ornament in the postmodern era is open to any number of possible innovations, combining the modernist legacy with forms and principles from the world of traditional ornament. 50 color and 175 b/w illustrations.

    KEY TOPICS: Presents writings from post WWII through the 1990's and organizes them around ten central areas of discussion (American avant-garde, the beat generation, objectivity/reduction/formalism, process and materials, sculpture, politics, the return of painting, image and identity, and the body and technology). Divides chapter writings into three categories--artists, critics, and context--giving readers clear insight into the major issues that the artists' work raises, and helping them connect the words of artists with criticisms about the art they created, exhibition reviews, and museum catalog essays. Includes selections from outside the visual arts to establish relationships between the issues and impulses raised by the work of these artists to trends and ideas that were gaining prominence within the broader culture at the time that the art was being created. MARKET: For general readers of modern art history and theory and/or post-war American culture; ideal for museum bookstores.

    One of the world's best-loved art historians, Sister Wendy Beckett combines her considerable knowledge of art history and modern art with her unique powers of observation to create an unrivaled personal anthology of over 115 of the greatest masterpieces in American painting. From Albers and Audubon to Warhol and Wyeth, the artists are arranged alphabetically, each represented by one or two key works. Homegrown American favorites, such as Homer and Hopper, are presented alongside pioneering Europeans who became active in the US, including Duchamp, Hockney, and De Kooning, to create a striking juxtaposition of artistic styles and achievements. Illuminating Insights include: White Flag by Jaspar Johns, Early Sunday Morning by Edward Hopper, Blue Poles: No. II by Jackson Pollock and M-Maybe (A Girl's Picture) by Roy Lichtenstein are among the icons of American art featured in this broad-ranging collection. Sister Wendy Beckett offers fresh insights into even the most famous paintings, superbly chronicling the key movements, developments, and artists in the history of American paintings.

    For the first time, this book collects all eight Study for Portrait paintings, the famous "Study after Velazquez's Portrait of Pope Innocent X" from 1953 and several other works from the period. An essay by Hugh M. Davies, who has written extensively about Bacon, discusses his influences and sources of imagery for this body of work. Also included is a previously unpublished interview with Bacon that Davies conducted more than 25 years ago. Rounded out with a chronology and selected bibliography, Papal Portraits is a major document for the study of this vital and influential twentieth-century master.

    This book offers an insight into Eisenstein's grand project. Tsivian reconstructs the director's "mental film" that underlies the finished work.

    There are overviews of key figures in the movement, and over 50 large-scale reproductions of Impressionist works by masters such as Cezanne, Renoir, Van Gogh, Monet, Manet and others.

    Diebold describes diversity and complexity of early medieval art by examining the relationship of word and image. The concept of word and image is broad enough to encompass the Anglo-Saxon art and oral culture of the Sutton Hoo treasure, as well as the literate art of the Carolingian and Ottonian courts. Diebold describes and explains the stunning variety of early medieval objects--illustrated manuscripts, rich metal work, ivories, textiles, statuary, jewels, painting and architecture produced north of the Alps beginning with Pope Gregory's Christianization of England and his justification of images, and ending with the spectacular gold reliquary statue of Ste. Foy at Conques, which separates Early Medieval art from the Romanesque. Diebold also discusses the function of (and audience for) medieval art; he shows why, how, and for whom it was made. Diebold outlines the role of artists and patrons in medieval society, and he explains art's institutional and social status. He defines basic historical and art-historical terms and concepts as they are encountered, and illustrations, a map, a glossary, notes, suggestions for further reading, and an index are included.

    This Victorian icon has inspired more passionate debate than any other article of clothing. As a means of body modification, perhaps only foot binding and female genital mutilation have aroused more controversy.Summers' provocative book dismantles many of the commonly held misconceptions about the corset. In examining the role of corsetry in the minds and lives of Victorian women, it focuses on how corsetry punished, regulated and sculpted the female form from childhood and adolescence through to pregnancy and even old age. The author reveals how the ‘steels and bones', which damaged bodies and undermined mental health, were a crucial element in constructing middle-class women as psychologically submissive subjects. Underlying this compelling discussion are issues surrounding the development and expression of juvenile and adult sexuality. While maintaining that the corset was the perfect vehicle through which to police femininity, the author unpacks the myriad ways in which women consciously resisted its restrictions and reveals the hidden, macabre romance of this potent Victorian symbol.

    Merchants and Marvels addresses how ideas about the representation of nature, in both art and science, underwent a profound transformation between the age of the Renaissance and the early 1700s.

    Created to accompany one of the greatest loan exhibitions ever to have been mounted from the collections of the British Museum, Eternal Egypt illustrates the development and achievements of ancient Egyptian art over a period of more than 3,000 years. Almost all of the artifacts have been drawn from the Museum's permanent exhibitions; many are among the finest examples of their kind to have survived from antiquity. Handsomely produced, this book reveals these objects—including sculpture, relief, papyri, hieroglyphic writing, jewelry, painting, cosmetic objects, and items of funerary equipment—as a means of extraordinary artistic expression rather than simply as historical documents. The book and the exhibit, which will travel to eight U.S. cities over the course of three years, provide a remarkable opportunity to explore the creative genius of one of the world's most extraordinary civilizations.Eternal Egypt features the unique and innovative aspects of art from each period, as well as characteristic styles, forms, and genres. Edna Russmann, one of the world's leading authorities on ancient Egyptian art and curator of the exhibition, offers a wide-ranging and authoritative introductory essay that covers archaism, portraiture, and stylistic innovation in Egyptian art. The text also relates the history of the British Museum collection of Egyptian antiquities, showing how these exquisite art works came together. Each piece in the exhibition is given a separate explanatory entry in the book. With its superb color photographs and accessible yet informative text, Eternal Egypt marks a substantial step forward in scholarly understanding of its subject, embodying the results of the very latest research and containing many new and original insights and observations. It will be a must read for anyone with a passion for ancient Egypt.Published in association with the American Federation of Arts by arrangement with the British Museum Press

    At key points in his career he was also an obsessive observer of himself, creating intense series of self-portraits. This book, with some 200 illustrations, offers the first comprehensive account of Matisse's activity as a maker of portraits and self-portraits." Matisse scholar John Klein goes beyond standard approaches to portraiture that focus on questions of likeness and expression of character. He considers the transaction that produces a portrait - a transaction between the artist and the sitter (even when the sitter is oneself) that is social as much as artistic. Klein investigates the various social contexts of Matisse's sitters and finds that differences among these contexts produced different kinds of portraits and self-portraits with different goals. This was in part due to the personal and social identity of the sitter, but partly also to Matisse's self-perception with respect to the sitter and his goal of engaging the genre as a mode of personal expression. The author also addresses the question of whether depictions of hired models can be considered as portraits and concludes that they lack the social context that is necessary to portraiture. Through the psychological and contextual examination of Matisse's portraits and self-portraits, Klein throws new light on an important body of work by this influential artist. He discusses also the portrait practice of some of Matisse's contemporaries - Picasso, Derain, Cezanne, and others - to develop fresh insights into the status of portraiture within twentieth-century art as a whole.

    This sumptuous volume, published to accompany a landmark exhibition at the Walters Art Gallery in Baltimore and at the Musee d'Orsay in Paris, is the first major book to focus on this crucial aspect of Manet's work.Throughout his career, and especially later in his life, Manet devoted considerable energy to still lifes, producing oils, watercolors, and prints that unite exuberant personal expression with a flawless mastery of light and detail. With informative text, including an enlightening essay by Henri Loyrette, director of the Musee d'Orsay, Manet: The Still-Life Paintings features lush, full-page colorplates as well as full-bleed details of what some critics consider the finest examples of still-life painting ever executed.The exhibition this book accompanies has been organized by the American Federation of Arts and the Reunion des Musees Nationaux/Musee d'Orsay, Paris.

    During exposure to light the silver-based image was transmitted chemically onto the carbon tissue, creating a pigmented image. Then, while wet, the two pictures were separated, and, finally, the carbon tissue was transferred onto a piece of high-quality paper." This volume documents Sudek's pigment prints of the 1940s and 1950s, including his ''studio pictures,'' landscapes, still lifes, and architectural photography, in beautiful reproductions, along with essays and interviews with Sudek.

    The period between 1550 and 1850 was marked by extraordinarily cold Winters and relatively cool Summers, and is even known in the meteorlogical history of Northwestern Europe as the Little Ice Age. The Dutch Golden Age fell in the middle of this period. The image of the Cold Dutch Winter has been immortalised in the attractive ice scenes painted by Hendrick Avercamp and his contemporaries. Holland Frozen in Time is the first publication in a long time which offers an overview of this typically Dutch phenomenon. In addition the art-historical aspects, treats, various Winter pleasures engaged in on the ice, the role played by Winter in seventeenth-century literature, and of course the climatic conditions prevailing at that time are explained. Finally, there is an account of the fascinating early history of the Winter landscape, from mediaeval illuminated manuscripts via the Winter scenes of Pieter Bruegel the Elder to the beginni

    The pieces range from rings, necklaces, and other body ornaments to astonishingly detailed jeweled work on objects as diverse as boxes, flasks, bowls, and daggers. They are presented and analyzed here in themes ranging from creative variations in stone settings, precious-metal inlay in hardstones, and minutely detailed relief decoration in hammered metals to engraved gold-backed jewels, enameling, gold-embellished steel, relief-carved ornament, and inscribed royal gemstones. The result is a visual feast of almost unbelievable richness, gathered together in this book for the first time.

    There are 180 examples of remarkable works made in clay, vegetable fibres, wood, metal, textiles and stone; they represent a range of talents found in 117 communities from every Mexican state.

    "Primitive" art, drawings by children, the art of the insane, and graffiti all opened up new avenues for experimentation and artistic creation. At the end of World War II, leading French artist Jean Dubuffet became interested in the works being produced by psychiatric patients and by other social outcasts. In 1948 he founded the Compagnie de l'Art Brut to document the collections he had begun, and in 1976 the collection moved to its permanent home in Lausanne. This critically acclaimed book traces the history of the concept of Art Brut, a movement which has had a profound effect on artistic and social history. The account is completed by biographical notes on the featured artists and an extensive bibliography. This revised edition contains up-to-date information about modern exponents of Art Brut and the collection itself, including two new images of artist Judith Scott's work. All the works reproduced, most from the collection created by Dubuffet, have retained their subversive freedom, which continues to fascinate and inspire artists and collectors today.

    This monograph explores Caravaggio's entire life and career by focusing on the most important of his works. Readers will learn about his innovated use of light and shadow, his physical and psychological realism, and his radical technique of omitting initial drawings and creating straight onto the canvas. Along the way readers will learn details of the artist's colorful, and often troubled life, as well as the important role he played in the evolution of Western painting. Overflowing with impeccably reproduced images, this book offers full-page spreads of masterpieces as well as highlights of smaller details-allowing the viewer to appreciate every aspect of the artist's technique and oeuvre. Chronologically arranged, the book coveres important biographical and historic events that reflect the latest scholarship. Additional information includes a list of works, timeline, and suggestions for further reading.

    Ritual sacrifices were considered necessary for this propitiation and for maintaining a proper reciprocal relationship between humans and the supernatural world. The essays in this book examine the archaeological evidence for ancient Peruvian sacrificial offerings of human beings, animals, and objects, as well as the cultural contexts in which the offerings occurred, from around 2500 B.C. until Inca times just before the Spanish Conquest. Major contributions come from the recent archaeological fieldwork of Steve Bourget, Anita Cook, and Alana Cordy-Collins, as well as from John Verano’s laboratory work on skeletal material from recent excavations. Mary Frame, who is a weaver as well as a scholar, offers rich new interpretations of Paracas burial garments, and Donald Proulx presents a fresh view of the nature of Nasca warfare. Elizabeth Benson’s essay provides a summary of sacrificial practices.

    It explores their lives and work both individually and communally, taking particular note of the relationships they formed, which enabled many of them to excel. Along with individual portraits of the artists, the book includes discussions of such contextual issues as the importance of the Arts and Crafts movement, concerns of marriage, family and sexuality, and the role of the MFA School. "A Studio of Her Own" is the definitive work on an important moment in America's cultural and artistic history.

    What is less known about these artists' careers is their work in decorative painting -- work on a large or unusual scale. This gorgeous book reproduces 85 decorative works carried out by the four artists between 1890 and 1930. During this time each moved beyond the illusionism of easel painting and applied his wholly untraditional aesthetic of decoration to a traditional wide range of works for domestic interiors, from wall-size ensembles to screens. The book also examines the tastes and the role of the patrons who made these works possible.Bringing together works from public and private collections, this book introduces and reunites paintings that have long been dispersed and presents to contemporary viewers bold and evocative works that literally expanded the role of painting as part of the modern experience.

    Nicola Bown explores what the fairy meant to the Victorians, and why they were so captivated by a figure which nowadays seems trivial and childish. She argues that fairies were a fantasy that allowed the Victorians to escape from their worries about science, technology and the effects of progress. The fairyland they dreamed about was a reconfiguration of their own world, and the fairies who inhabited it were like themselves.

    At the height of her popularity, The Brinkley Girl appeared in the Ziegfeld Follies and inspired poems and popular songs. Brinkley's name even sold hair curlers, and her delicate pen work influenced later women cartoonists. As early as 1913, Brinkley was drawing working women, from farm and factory workers to those pursuing careers, using her art to encourage decent pay, pensions, and housing for thousands of young women working for the war effort. This work covers her life and her work, which might upon first glance show pretty girls but on a closer inspection reveals a post-Victorian feminism. It also looks at her rise to popularity, the innocent sexuality of her Brinkley girls, the sugary and sentimental Betty and Billy series, and the beauty of her line drawings.

    These powerful, haunting paintings are widely recognized and revered, especially his iconic work The Scream (1893). Yet few admirers of Munch's early works realize that the artist lived well into the twentieth century and was enormously productive almost to the time of his death. This compelling book, focusing on more than sixty of Munch's later paintings, reveals the surprising, vibrant work of a fascinating man who never ceased to grow as an artist.Following decades of restless wandering among the capitals of Europe, Munch suffered a breakdown in Copenhagen in 1908 and retreated to his native Norway. In 1916 he purchased an estate near present-day Oslo where he lived and worked, mostly in his outdoor studio, for the next twenty years. Although Munch never abandoned a deeply introspective approach to image-making, in his later works he expressed a new attachment to the visible world, adopting a fresh range of subjects and a looser, brighter painting style. The pictures of this period -- full of vivid color, evocative atmospheres, and visual drama -- are a revelation, casting new light on one of the most complex artists of the modern era.

    By focusing on individual sculptors, painters, and illustrators, Laura Prieto gives us a compelling picture of the prospects and constraints faced by women artists in the United States from the late eighteenth century through the 1930s.Prieto tracks the transformation from female artisans and ladies with genteel "artistic accomplishments" to middle-class professional artists. Domestic spaces and familial metaphors helped legitimate the production of art by women. Expression of sexuality and representation of the nude body, on the other hand, posed problems for these artists. Women artists at first worked within their separate sphere, but by the end of the nineteenth century "New Women" grew increasingly uncomfortable with separatism, wanting ungendered recognition. With the twentieth century came striking attempts to reconcile domestic lives and careers with new expectations; these decades also ruptured the women's earlier sense of community with amateur women artists in favor of specifically professional allegiances. This study of a diverse group of women artists--diverse in critical reception, geographic location, race, and social background--reveals a forgotten aspect of art history and women's history.

    Intended to cater to both a general interest readership and to art historians and researchers, the book places an emphasis on significant new scholarship, thus retaining its value amid diverse and evolving perceptions of Bosch and his work. Hieronymus Bosch was unique in creating works of symbolic fantasy using rich forms and colors in a way that makes him the ancestor, 500 years earlier, to the Surrealist painters of the early twentieth century. This volume will help make his work accessible to a wide range of readers, and will considerably advance the scholarship.

    When ideas float in our mind without any reflection or regard of the understanding, it is what the French call Revery or Reverie. True to its definition our Reverie collection features 10 books from great painters that include works by individual painters. These books primarily feature paintings of mostly nude women but without a specific subject.

    Reintroducing the small group of young English artists who in 1848 founded the Pre-Raphaelite Brotherhood, this landmark book helped to attract both scholars and a new generation of admirers to the brilliant and audacious work of the Pre-Raphaelites. In this completely revised and updated second edition, Staley takes into account important artworks that have recently come to light as well as current understandings of the Pre-Raphaelite movement and its legacy. This lovely volume is greatly enhanced by more than 150 luminous color illustrations.Ranging widely in this volume, Staley offers a comprehensive account of the formation of the Brotherhood, the artists' theoretical concerns about depictions of the natural world, and the emergence and impact of a school of Pre-Raphaelite landscape painting. Staley also discusses all the figures important to Pre-Raphaelitism: the artists (among them John Everett Millais and William Holman Hunt), their associates (Ford Madox Brown, William Dyce), the landscape specialists they influenced (Thomas Seddon, George Price Boyce), and their most articulate supporter, John Ruskin.

    Contrary to those who isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she shows that the photographic album must be taken as a whole and interpreted as a visual and verbal performance that extends oral consciousness.Suspended Conversations brings to light a rich collection of photographic travelogues, memoirs, thematic collections, and family sagas compiled between 1860 and 1960 and held by the McCord Museum of Canadian History. Martha Langford not only provides a fascinating glimpse of a previous century's preoccupations and mores but brings photography into the great conversation about how we remember and how we send our stories into the future.

    It provides insight into a gilded court life that has long since vanished and reminds us of the enduring value of the arts and fine craftsmanship.

    A collection of self-taught and outsider art with a European representation of artists.

    Surveys the architecture from Iran to China, the Maghreb to India; and traces artistic styles from the Umayyad and early Abbasid dynasties (650-750 A.D.) to the Ottoman and Mughal empires of the 18th and 19th c

    Danto, Ellen Dissanayake, Michael Owen Jones, Randall Morris, Sharon Patton, Charles Russell, Maude Southwell Wahlman, and Alison Weld The creators of self-taught art have no academic artistic training and little connection to the established traditions of Western art history. Yet their works have undeniable aesthetic impact. What are the origins of the artists' aesthetic choices and strategies? How is artistic production shaped by the artist and the culture? By what standards are the works to be analyzed and judged? Answering such questions that the mainstream often asks, this collection of essays brings a clearer understanding of the purpose and the achievement of "outsider art." It is the first book to give self-taught art the same degree of scholarly attention and critical thinking that mainstream art traditionally receives. It features the views of some of the most prominent critics of vernacular art and explores a wide range of subjects from a variety of critical approaches dealing with self-taught art in all its forms. The ten critics explore the sources and contexts of creation, focus on the personal roots of creativity, and challenge the reductivist views that for too long have dominated discussions of self-taught art, particularly the African American vernacular. Thirty-two full-color plates and seventy-two black-and-white photographs illuminate these essays with the work of America's most acclaimed self-taught artists--William Edmondson, Thornton Dial, Howard Finster, James "Son" Thomas, Mose Tolliver, Nellie Mae Rowe, Minnie Evans, Joseph Yoakum, Bill Traylor, and other such creators of art that challenges mainstream aesthetics. Charles Russell, an associate professor of English at Rutgers University, is the associate director of the Rutgers Institute on Ethnicity, Culture, and the Modern Experience. His books include Poets, Prophets, and Revolutionaries: The Literary Avant-Garde from Rimbaud through Postmodernism and The Avant-Garde Today: An International Anthology.

    "Artists today treat museums as filled not with dead art, but with living artistic options."Arthur Danto, "After the End of Art" Here is the first extensive survey of one of the most importantand intriguingthemes in art today: the often obsessive relationship between the artist and the museum. This is a relationship with a long history, whose full significance has been realized in the activities of artists in recent decades. From early instances of the urge to collect exotic objects, the "cabinet of curiosities," to assemblages of found objects and imitations of museum displays, artists have often turned their attention to the ideas and systems traditionally embodied in the museumdisplay, archiving, classification, storage, curatorshipwhich they have then appropriated, mimicked, and interpreted in their own ways. Citing a wide range of examples, from Marcel Duchamp's "Portable Museum" to Damien Hirst's distinctive use of vitrines, James Putnam examines the themes by which the artist/museum relationship is defined and redefined. He shows not only the ways in which artists have been influenced by museum systems and made their works into simulations of the museum, but also how they have questioned the role of museums, observed their practices, intervened in them, and helped to redefine them. This is a subject around whichdirectly and indirectlycontemporary art dialogue revolves. Without rival, this is one of those rare books that will become essential reading for everyone interested in the development of art and its presentation to the public in museum displays and installations. 280 illustrations, 227 in color.