With their compelling composition and glowing colour, these works are admired for their beauty and for their power to transport the viewer into a romantic world of myth and legend. At the same time, Waterhouse's wistful heroines also reflect the troubled attitudes of nineteenth-century male artists towards women.In this carefully researched new study, Peter Trippi presents a fresh and absorbing analysis of the artist's seductresses, martyrs and nymphs, and the cultural and historical circumstances in which they were produced. He also draws on new research to provide an accessible biography of the artist. Themes explored include Waterhouse's passion for Italy, literature and the classical world, the role of the Royal Academy in his life, his stylistic influences and studio practice, and his relations with collectors, dealers, critics and curators.Neglected throughout much of the twentieth century, Waterhouse has enjoyed a dramatic revival of fortune. Trippi's monograph provides a timely re-evaluation that combines a close reading of Waterhouse's imagery with a candid appraisal of the milieu in which he worked.

    Three essays by Barney experts articulate the series' diverse themes and explore the artist's innovative aesthetic vocabulary; interviews with key collaborators, a composer, costume designer, make-up artist, technicians and actors reveal his working process. A trailblazing essay by Curator of Contemporary Art Nancy Spector charts Barney's work from the 1990s to the present and provides critical insights into the aesthetic vocabulary of his five Cremaster films, while Neville Wakefield's "Cremaster Glossary" illuminates the films' most far-flung references with citations from sources as diverse as Freud's psychoanalytic studies, Mormon law and lore, and hardcore music fanzines. In addition to stills from the five films--including the final episode, Cremaster 3--the book features related sculptures, photographs, drawings and storyboards. For anyone intrigued by the Wagner of contemporary art, this is an atlas to his enticingly hypnotic worlds. Barney himself collaborated on all aspects of this extraordinary publication, including the selection of over 700 images, most of them never before published.

    1922) has built up a reputation as one of the most distinctive contemporary figurative artists. Freud's startling and disconcerting portraits and nudes have a haunting quality that makes them impossible to forget. This stunning book -- which accompanies a major retrospective showing at Tate Britain in London, Fundacio"la Caixa" in Barcelona, and The Museum of Contemporary Art in Los Angeles -- brings together key works from Freud's entire career, including over 140 paintings, drawings, and etchings, some new, and many never before exhibited.Richly illustrated with many previously unpublished photographs from the artist's personal archives, this volume contains a detailed analysis of Freud's work by curator William Feaver along with a contribution from the artist's friend, painter Frank Auerbach. Unprecedented in scope and providing an exciting opportunity to view the exceptionally productive period of the last 20 years in the context of earlier decades, this book celebrates the lifetime achievements of a powerful artist, one of the greatest realist painters of our time.

    This handy, pocket-sized volume includes 900 illustrations and takes the reader on a whirlwind tour of the most spectacular works of art around the world and throughout time.

    She tells us how great painters fool the brain: why Mona Lisa's smile seems so mysterious, Monet's Poppy Field appears to sway in the breeze, Mondrian's Broadway Boogie Woogie blinks like the lights of Times Square, and Warhol's Electric Chair pulses with current.Drawing on history and her own cutting-edge discoveries, Livingstone offers intriguing insights, from explanations of common optical illusions to speculations on the correlation of learning disabilities with artistic skill. Her lucid, accessible theories are illustrated throughout with fine art and clear diagrams.In his foreword, Nobel Prize-winner Hubel posits that neurobiology will enhance the art of the future just as anatomy did in centuries past. That future begins with this fascinating book.

    Taking the sculptures out of the museum context (and thus off of their proverbial pedestals), this volume presents a completely new view which affords enlightening comparisons between eras and genres. This remarkable work is indispensable for artlovers of all tastes and disciplines.

    Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum to remove the work is to destroy the work is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

    The body has always been both her subject and her medium, and she has withstood pain, exhaustion and danger in her ongoing quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic created some of the most historic early performance pieces.  Of these artists, she is the only one still making important durational works.

    Conflicts surrounding homosexuality and creative freedom have shaped the history of modern art in America. Outlaw Representation traces this history by showing how gay artists have both resisted and responded to the threat of censorship. It features nearly two hundred images, ranging from the work of Robert Mapplethorpe to gay liberation posters.

    But those images make up only a portion of this deluxe seven-volume set, which will stand as the definitive collection of Sander's considerable achievement.The books include some 150 never-before-seen images and essays by leading experts on the German photographer's work. Praising Sander's "vision...his knowledge, and his immense photographic talent, " the writer Alfred Doblin said: "Those who know how to look will learn from his clear and powerful photographs, and will discover more about themselves and more about others."

    From Chartres, whose stained-glass windows create patterns of light that seem truly mystical, to the Cathedral of Florence, whose soaring dome has been called "one of the engineering marvels of all time, " this glorious art book covers the major Romanesque and Gothic cathedrals in France, England, Germany, Italy, and Spain.A wealth of photographs showing the cathedrals inside and out, including close-up architectural and sculptural details, and an authoritative text by a respected architectural historian combine to produce an indispensable work for scholars, as well as a lovely gift for all those who adore these majestic buildings.

    Some of these works are considered the most important; others may be less well known, but they all play an important role in the philosophical and artistic development of this diverse group of artists.

    At one time, these two independently wealthy Jewish women from Baltimore received offers from virtually every prominent art museum in the world, all anxious to house their hitherto private assemblage of modern art. In 1949, they awarded all their holdings to the Baltimore Museum of Art. In 2002, that collection was valued at nearly $1 billion, making them two of the most philanthropic art collectors of our age.Yet, for complex reasons, the story of the Cone sisters has never been fully or accurately told. Gertrude Stein suggested in her writings that the mousy Etta and the regal Claribel had little artistic sense of their own, buying only what she and Leo Stein advised them to buy. For most of those 45 years, though, the savvy Cone sisters knew exactly what they were doing, and why. But they thought it undignified in life or death to call much attention to themselves, always emphasizing that the art, not its collecting, mattered most.Mary Gabriel, an art-minded journalist and women's historian, has, at long last, brought the little-known sisters to life, and shone the spotlight on their remarkable achievements. That these two upright, Victorian women led the way in purchasing the scandalous, erotic art of Matisse, Picasso, and others, is itself one of the most fascinating yet incongruous aspects of their story. Etta and Claribel Cone supported the 20th century's revolutionary artists from their impoverished beginnings--when Henri Matisse, for example, was reviled by critics as a "wild beast," and Pablo Picasso scratched out a living in a hovel. By contributing to the livelihood of avant-garde artists in whom they deeply believed, the sisters helped coax out, then preserved some of the greatest art of the modern era. Though it intimately portrays two powerful, influential, ahead-of-their-time women, The Art of Acquiring is more than a tale of two sisters, more than an important addition to art history, and more than a major contribution to the study of women's history. Because it reproduces some of the more famous and important art of Matisse, Picasso, Cézanne, Dégas, and others, The Art of Acquiring enables readers to practically step through the canvas and live in the shocking paintings these two unsung sisters purchased, then gave to the world-at-large. Finally, a lovely, absorbing biography of the neglected Cone sisters! About the Author: Mary Gabriel, currently based in London, works as a reporter and editor for the world desk of Reuters News Service. Previously, she was executive editor of Museum & Arts Washington magazine, which won a national MagazineWeek award for excellence in Art and Literature during her tenure. Prior to that, she served as editor and reporter for United Press International, and as a reporter for the Baltimore News American newspaper. Her first book, Notorious Victoria: The Life of Victoria Woodhull, Uncensored, was a New York Times "Notable Book" in 1998. She holds a Diplome from the University of Paris at the Sorbonne, a Bachelor's of Fine Arts from the Maryland Institute College of Art, and a Master's Degree in Journalism from American University.

    It comprises over one-hundred and fifty formal portraits and portrait sketches in oil and watercolor that he painted between 1889 and 1900. The catalogued works have been grouped into chronological sections, each with its own introduction to set the particular group in context. In addition, an overall introduction places Sargent in the context of European portraiture of the past and of his own time. Each work is documented in depth: entries include traditional data about the painting or watercolor; details of the work’s provenance, exhibition history and bibliography; a short biography of the sitter; a discussion of the circumstances in which the work was created; and a critical discussion of its subject matter, style, and significance in Sargent’s career. With very few exceptions, all the works are reproduced in color. There is also an illustrated inventory of Sargent’s studio props and accessories and a cross-referenced checklist of the portraits in which they appear.

    It's as if John James Audubon had been visited by the spirit of Hieronymous Bosch is how one critic has described the unsettling impact of Ford's work, with their sometimes violent imagery and their trenchant political and social commentary on history, colonialism and the precarious relationship between man and animal.

    Between them they are the originators of many of the most significant innovations of 20th-century painting and sculpture, but their relationship has rarely been explored in all of its closeness and complexity. In spite of their initial rivalry, the two masters eventually acknowledged one another as equals, becoming, in their old age, increasingly important to one another both artistically and personally. From the time of their initial encounters in 1906 in Gertrude and Leo Stein's Paris studio until 1917, they individually produced some of the greatest art of the 20th century and maintained an openly competitive relationship brimming with intense innovation. This period saw them create such works as Picasso's majestic "Woman with a Fan" of 1908 and Matisse's great portrait of his wife of 1913. Matisse responds to Synthetic Cubism in his "Piano Lesson" of 1916 and Picasso comes back in turn with a new, more decorative Cubism in "Three Musicians" of 1921. The 20s saw them grow apart, as Matisse moved from Paris to Nice and Picasso became involved with the Surrealists, but the 30s brought them together again, through their sheer fame and devotion to reality-based art. Their story continues until Matisse's death in 1954, when Picasso paid his friend and colleague tribute in his series Women of Algiers, of which he said, "When Matisse died, he left his odalisques to me as a legacy." Matisse Picasso presents the artists' oeuvres in groupings that reveal the affinities but also the extreme contrasts of their artistic visions. Published to accompany the landmark exhibition, a joint effort of The Museum of Modern Art, New York; the Tate Modern, London; the Raunion des musaes nationaux/Musae Picasso and the Musae national d'art moderne/Centre Georges Pompidou, Paris; Matisse Picasso is the first major examination of the fascinating relationships between their art, their careers, and their lives. Thirty-four essays, each by a member of the exhibition's curatorial team, focus on a particular moment in the artists' evolving relationship. The authors present in-depth analyses of specific aspects of the unique artistic dialogue between Matisse and Picasso as reflected in selected juxtapositions of each artist's works. These texts are accompanied by an introductory history, commentary on the public perception of important artistic relationships, and an extensive chronology.

    Unlike most of the other amateurs in his circle, he persevered to become a dedicated, prolific, and remarkably gifted photographer, creating approximately 3,000 images during his twenty-five years of photographic activity. This handsomely designed volume makes clear the remarkable extent and complexity of Carroll's photographic art. It publishes for the first time the world's finest and most extensive collection of Carroll photographs, many of which have never been reproduced before and are unknown even to committed Carroll enthusiasts. Roger Taylor's thorough and sophisticated discussion of Carroll as a photographic artist and as a prominent member of Victorian society reveals the man as never before, illuminating his relationships with the children he photographed in light of the idealism and social conventions of the day. This text, illustrated with exquisite tritone plates, is followed by Edward Wakeling's fully illustrated and thoroughly annotated catalogue of the entire Princeton University Library collection. It features, in addition to a trove of loose prints, four rare albums made by Carroll himself to showcase his work to friends, family, and potential sitters. Reproduced in album order, these images offer new insight into how Carroll thought about his work--and how he wanted it to be seen. Compelling portraits of Alice Liddell and other children are presented alongside those of eminent Victorians such as Alfred Tennyson and William Holman Hunt, as well as evocative landscapes, narrative tableaux, and wonderfully strange studies of anatomical skeletons. The catalogue is followed by a chronological register of every known Carroll photograph--a remarkable resource for anyone studying his career as a photographer. This sumptuous volume is the definitive work on Carroll's photography. All who admire Carroll and his writing, as well as everyone interested in Victorian England or the history of photography, will find it both essential and irresistible.

    A unique visual map of the whole period in the form of an eight page fold-out is followed by articles on 100 of the most significant movements of the modern period, with briefer entries on 200 more. To bring out the interconnections and patterns of influence, the articles are arranged in chronological order, divided into five major periods. The articles crisply narrate the rise and impact of each style, the locale and historical background, the work and lives of the leading figures, the manifestos and the exhibitions, the judgments of the critics and the delight or outrage of the general public. The ideas behind the styles are discussed, and each article is supplemented by suggestions for further reading and where to see major collections of the art works. Special emphasis is given to the illustrations, many of which are in colour, which show what standard dictionary entries often fail to, the distinctive visual features of the art itself. Arranged with plentiful cross references, the texts and illustrations allow the reader to trace fascinating patterns of influence and reaction - across

    Famous paintings like The potato eaters, The yellow house, The bedroom and Sunflowers are featured. Experts from the Van Gogh Museum tell the story behind the paintings in short accompanying texts. The works by Van Gogh are complemented by masterpieces painted by his contemporaries like Claude Monet and Paul Gauguin. A number of recent acquisitions are also included in the selection. Amsterdam (Van Gogh Museum) 2009. Available in nine languages.

    The story of art unfolds in its full historical, social, religious, economic, and cultural context, deepening students' understanding of art, architecture, painting, and sculpture. This version explores the history of art in the Western world in a concise 23-chapter format (also available in a two-volume split). GARDNER'S ART THROUGH THE AGES: THE WESTERN PERSPECTIVE features such enhancements as more color photographs, a stunning new design, and the most current research and scholarship. Unique to survey texts with a Western Art focus, the authors include a chapter on Islam, providing students with insightful coverage of the Islamic tradition's impact on Western culture and art history. Additionally, every copy of the text contains a free copy of the ArtStudy 2.1 CD-ROM-an interactive electronic study aid that fully integrates with the text and includes hundreds of high-quality digital images, plus maps, quizzes, and more.

    An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars.In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century.

    Guiding our eye to revealing details, they also shed fascinating light on fashions and lifestyles, loves and intrigues, politics and people, and transform our encounter with art into an exciting adventure.

    Using industrial materials such as latex and fiberglass, she exploited their flexibility to produce works with an unsettling psychic and corporeal resonance. Hesse, who was born in Germany in 1936 and raised in New York City, died of cancer in New York in 1970. Eva Hesse focuses on the body of criticism that has developed since the last major retrospective of Hesse's work, at the Yale University Art Gallery in 1992. The book's publication coincides with a major exhibition organized jointly by the San Francisco Museum of Art and the Wiesbaden Museum. Eva Hesse contains a 1970 interview by Cindy Nemser, a discussion between Mel Bochner and Joan Simon, and essays by Briony Fer, Rosalind Krauss, Mignon Nixon, and Anne M. Wagner.

    Just as the forties was the decade hailed nostalgically ever since as Hollywood's golden age, it also saw the emergence of a dark new undercurrent in pop culture - the sinister world of gumshoes, gangsters, double-crossing dames, and blind alleys that comprised film noir. Long before the era of the television trailer and satellite media junket, studios lured audiences to theaters with graphically bold poster art, gorgeously illustrated by classically trained artists adept at capturing the nuances of Veronica Lake's seductive glance, Humphrey Bogart's world-weary eyes, Bette Davis's icy stare, and hundreds of other stars at their best and most glamorous. All of the era's legendary stars are included in this volume: Lauren Bacall, Robert Mitchum, Barbara Stanwyck, Rita Hayworth, Cary Grant, Henry Fonda, Marlene Dietrich, and more. "Film Posters of the 40s" brings to life in lavish full-color an era in film history that will never be forgotten.

    Chihuly is credited with introducing fine-art collectors and new fans to an art form that is almost 5,000 years old. Photographs of natural light playing on the brilliant colors and unique shapes of Chihuly's work survey his memorable outdoor installations around the globe. Vintage postcards from Chihuly's archives and images from his exhibition at the historic Garfield Park Conservatory in Chicago round out this pictorial collection. Quotes from the artist and thoughtful essays provide a backdrop for his work as well as a glimpse into the Chihuly process.

    While Klimt is largely revered for his opulent, symbol-laden portraits of the Viennese bourgeoisie, these works were just one aspect of his artistic expression. His landscapes represent an important facet of his career and are a valuable contribution to the school of European nature painting. For many years the artist travelled to the Austrian and Italian countryside during the summer, where he took advantage of the extraordinary light and spectacular hues to paint and sketch landscapes. Among the most exquisite of Klimt's landscapes are those in which he experimented with composition and style. Accompanied by scholarly essays, the images reproduced in this book comprise all extant landscapes from this brilliant artist, proving that his mastery extends beyond portraiture and revealing themes that appeared throughout his life's work.

    He is also one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. Leave Any Information at the Signal not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period.The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.

    Mary Warner Marien has constructed a richer and more kaleidoscopic account of the history of photography than has previously been available. Her comprehensive survey shows compellingly how photography has sharpened, if not altered forever, our perception of the world. The book was written to introduce students to photography. It does not require that students possess any technical know-how and can be taught without referring to techniques in photography. Incorporating the latest research and international uses of photography, the text surveys the history of photography in such a way that students can gauge the medium's long-term multifold developments and see the historical and intellectual contexts in which photographers lived and worked. It also provides a unique focus on contemporary photo-based work and electronic media.

    The author retraces Michelangelo's journey from Rome to Florence, explores his changing religious views and examines the complicated politics of patronage in Renaissance Italy. The psychological portrait of Michelangelo is constantly foregrounded, depicting with great conviction a tormented man, solitary and avaricious, burdened with repressed homosexuality and a surplus of creative enthusiasm. Michelangelo's acts of self-representation and his pivotal role in constructing his own myth are compellingly unveiled. Antonio Forcellino is one of the world's leading authorities on Michelangelo and an expert art historian and restorer. He has been involved in the restoration of numerous masterpieces, including Michelangelo's Moses. He combines his firsthand knowledge of Michelangelo's work with a lively literary style to draw the reader into the very heart of Michelangelo's genius.

    They are world-famous for their inimitable, democratic designs which bridge the gap between crafts and industrial production. The marriage of beautiful, organic forms with everyday functionality is one of the primary strengths of Scandinavian design and one of the reasons why Scandinavian creations are so cherished and sought after. This guide provides a detailed look at Scandinavian design from 1900 to the present day, with in-depth entries on featured designers and design-led companies, plus essays on the similarities and differences in approach between Norway, Sweden, Finland, Iceland, and Denmark.

    His prints encourage the eye to take an apparently endless journey. --"The Times Literary Supplement"In 1954 Paul Strand and his wife Hazel spent three months traversing the rugged island of South Uist, off the west coast of Scotland. "Tir a'Mhurain" reflects the impressions they gathered during their stay. Juxtaposing people and landscape, Strand's photographs depict the perfect complicity he saw between nature and habitation in this wild terrain. Whether they are of rocks and sea or a grinning shepherd boy, scudding clouds hanging over seaside houses or the wrinkled face of an old lady, Strand's images capture the essence and complexity of a singular place.This new edition of "Tir a'Mhurain," which includes rare images never before published, is a true masterpiece of photography. In the spirit of the Aperture editions of Strand's classic works "La France de Profil" (2001) and "Un Paese" (1997), this volume celebrates the beauty of everyday life.

    Durand, Frederic Edwin Church, Jasper Cropsey, Sanford Robinson Gifford, and others--found inspiration in our young country's natural wonders and were the first to paint many of its still-wild vistas. As America was settled and the wilderness receded, their successors--most notably Albert Bierstadt and Thomas Moran--carried their quest for the sublime to the Far West, communicating its breathtaking grandeur in brilliant views of Rocky Mountain peaks, roaring waterfalls, and vast canyons. Within a single generation these artists established the dramatic approach to American landscape painting that is celebrated in this stirringly beautiful book. The freshness of their vision, the intensity of their invention, and the energy of their execution were all born of the urgency these artists sensed in the life of America itself.Published to accompany a major transatlantic exhibition, American Sublime rejoices in America the Beautiful as seen in some of the country's most glorious landscape paintings. It contains a fully illustrated catalogue of all the paintings in the exhibition, with more than one hundred color plates, including three gatefolds. Biographies of the artists are included, and thoughtful and elegantly written essays cast new light on their ambitions and achievements. The lucid text places American landscape painting in the context of the international art world and of the European landscape tradition. And it explores ideas of national identity and empire in America, looking in particular at how these landscapes, whether real or imagined, reflect Americans' hopes and fears for their country.As a tribute to some of our most important American artists and the land that inspired them, this stunningly illustrated book will have a deep and wide appeal.

    Daring, disparate, contentious—Fluxus artists worked with minimal and prosaic materials now familiar in post-World War II art. Higgins describes the experience of Fluxus for viewers, even experiences resembling sensory assaults, as affirming transactions between self and world.Fluxus began in the 1950s with artists from around the world who favored no single style or medium but displayed an inclination to experiment. Two formats are unique to Fluxus: a type of performance art called the Event, and the Fluxkit multiple, a collection of everyday objects or inexpensive printed cards collected in a box that viewers explore privately. Higgins examines these two setups to bring to life the Fluxus experience, how it works, and how and why it's important. She does so by moving out from the art itself in what she describes as a series of concentric circles: to the artists who create Fluxus, to the creative movements related to Fluxus (and critics' and curators' perceptions and reception of them), to the lessons of Fluxus art for pedagogy in general. Although it was commonly associated with political and cultural activism in the 1960s, Fluxus struggled against being pigeonholed in these too-prescriptive and narrow terms. Higgins, the daughter of the Fluxus artists Alison Knowles and Dick Higgins, makes the most of her personal connection to the movement by sharing her firsthand experience, bringing an astounding immediacy to her writing and a palpable commitment to shedding light on what Fluxus is and why it matters.

    Presents hundreds of newly identified and never-before-published objects, from carnival figures to religious toterns, from antique trade signs to spectacular examples of hand-carved canes.

    These broad topics work alongside a fully developed cultural context in which the emphasis is more on key ideas than individuals. There are debates such as the nature of invention, the effect of mass media on morality, the use of imagery as a tool of Western colonialism, and the role of the photograph in advertising, radical politics, and family life. Focus boxes highlight interesting cultural or controversial issues, for example Photography and Futurism and Lewis Carroll's Photographs of Children. The author also pays close attention to how contemporary practitioners, commentators, and beholders have talked about specific works, the nature of photography, and the photographer's changing role in society. States, the book benefits from two decades of research into non-Western photography and yields rarely seen work from Latin America, Africa, India, Russia, China, and Japan. Great names from the world over are well represented: Ansel Adams, Henri Cartier- Bresson, Louis-Jacques-Mande Daguerre, Walker Evans, Roger Fenton, Andre Kertesz, Dorothea Lange, Gustave Le Gray, Peter Magubane, Don McCullin, Alexandr Rodchenko, Cindy Sherman, Raghubir Singh, William Henry Fox Talbot, Andy Warhol, and Edward Weston. Additionally, featured in more detail in Portrait boxes are photographers such as Margaret Bourke-White, Mathew Brady, Manuel Alvarez Bravo, Julia Margaret Cameron, Gertrude Kasebier, Jacob Riis, August Sander, Alfred Stieglitz, and Shomei Tomatsu.

    Founded in 1929 in small temporary quarters at 730 Fifth Avenue and now housed in a building that occupies almost half a city block at 11 West 53rd Street,The Museum of Modern Art, New York is on the cusp of a massive renovation and expansion that will see it into the 21st century.The Museum is a repository of masterpieces of modern and contemporary art, 325 of the best of which are reproduced here, accompanied by short, incisive, and intelligent texts.

    When, in 1933 Jews were no longer permitted to teach in German universities, he lost his job and looked for employment in England. Here, over a long and amazingly industrious career, he made himself an authority on the exploration and enjoyment of English art and architecture, so much so that his magisterial county-by-county series of 46 books on The Buildings of England is usually referred to simply as 'Pevsner'. As a critic, academic and champion of Modernism, Pevsner became a central figure in the architectural consensus that accompanied post-war reconstruction; as a 'general practitioner' of architectural history, he covered an astonishing range, from Gothic cathedrals and Georgian coffee houses to the Festival of Britain and Brutalist tower blocks.Susie Harries explores the truth about Nikolaus Pevsner's reported sympathies with elements of Nazi ideology, his internment in England as an enemy alien and his assimilation into his country of exile. His Heftchen - secret diaries he kept from the age of fourteen for another sixty years - reveal hidden aspirations and anxieties, as do his numerous letters (he wrote to his wife, Lola, every day that they were apart).Harries is the first biographer to have read Pevsner's private papers and, through them, to have seen into the workings of his mind. Her definitive biography is not only rich in context and far-ranging, but is also brought to life by quotations from Pevsner himself. His life - as an outsider yet an insider at the heart of English art history - illuminates both the predicament and the prowess of the continental émigrés who did so much to shape British culture after 1945.

    Through an in-depth study of Japanese art and culture, world-renowned scholar Gian Carlo Calza defines the very essence of that recognizable yet elusive quality that is Japanese style, equipping readers with the tools to fully understand and appreciate it. He draws connections between art, religion, history, philosophy and mythology, and examines specific examples of Japanese literature, art and architecture, from ancient times to the present. Beautifully illustrated with over 150 images, including paintings, prints, sculptures and photographs, this book is a perfect introduction to Japananese style and culture.

    In Calling Back the Spirit, R. Anderson Sutton describes the music of the Makassarese region of South Sulawesi and explores how, in the face of Indonesian and foreign cultural pressures, the community is defending its local spirit through music and dance.

    Coptic Monasteries takes the reader on a tour of the best preserved and most significant of these ancient religious centers, documenting in exhaustive detail the richness and the glory of the Coptic heritage.An informative introduction by Tim Vivian brings to life the early Christian era, with background information on the origins of the Coptic Church as well as its rites and ceremonies, sketches of some of monasticism's founding figures, and accounts of some of the difficulties they faced, from religious schism to nomadic attacks.Gawdat Gabra's expert commentary, complemented by almost one hundred full-color photographs of newly restored wall paintings and architectural features, covers monasteries from Aswan to Wadi al-Natrun. Ranging across a thousand years of history, Gabra's observations will make any reader an expert on the composition and content of some of Egypt's most outstanding religious art, the salient architectural features of each monastery, as well as the ongoing process of restoration that has returned much of their original vibrancy to these works. A unique and invaluable historical record, Coptic Monasteries is equally an in-depth, on-the-spot guide to these living monuments or an armchair trip back in time to the roots of one of the world's oldest Christian traditions.

    Henning reveals the lives and careers of some of the most important American penmen in history. With over 400 illustrations, An Elegant Hand offers an exciting and detailed view of the many styles of penmanship and calligraphy: Spencerian Script; Ornamental Penmanship; flourished designs of birds; Copperplate; business writing (many variations); broad-pen calligraphy, especially German Text and Old English; and many other styles. This work also features a glossary of terms.

    Rona Goffen, one of the most highly respected scholars of the Italian Renaissance today, brings Michelangelo, Leonardo, Raphael, and Titian to life in this lively account of their passionate strivings to outdo both living competitors and the masters of antiquity.�Who would have thought that the serene masterpieces of the High Renaissance owed so much of their vitality to backstage brawling? Only Rona Goffen knows enough to trace these labyrinthine rivalries. In her book the artists take on cinematic vitality, making us see the artifacts produced by such creative brawlers in entirely new ways. They are knockouts. So is her book.”—Garry Wills�A handsome, copiously illustrated book.”—Virginia Quarterly Review�This lively and appealing book is an important achievement. . . . Magnificently researched and handsomely produced, Renaissance Rivals advances the discussion of a central aspect of early modern culture. In doing so, it has no rivals.”—Werner Gundersheimer, American Scholar

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

    From this training emerged generations of architects imbued with the aesthetic ideals that would form the Neoclassical and Beaux-Arts building styles. In this magnificently printed volume are reproduced some of the most extraordinarily handsome drawings of the ruins of ancient Rome made by French "Prix de Rome" architects from 1775 through 1925. Accompanied by text that explains how the Prix de Rome was awarded and the significance of the prize in the history of architecture, as well as how the study of ancient models formed the basis for nineteenth- and early twentieth-century architectural styles, these drawings provide an invaluable understanding of how the modern imagination recorded and transformed ancient fragments into a modern architectural idiom.

    This volume demonstrates the value of more recent interpretive approaches to this famous and iconic artefact, by examining the textile's materiality, visuality, reception and historiography, and its constructions of gender, territory and cultural memory. The essays it contains frame discussions vital to the future of Tapestry scholarship and are complemented by a bibliography covering three centuries of critical writings.Contributors: Valerie Allen, Richard Brilliant, Shirley Ann Brown, Elizabeth Carson Pastan, Madeline H. Cavines, Martin K. Foys, Michael John Lewis, Karen Eileen Overbey, Gale R. Owen-Crocker, Dan Terkla, Stephen D. White.

    This highly original book examines six of these paintings and argues that their disturbing, erotic depictions of slavery, revolt, plague, decapitation, cannibalism, massacre, and abduction chart the history of France's empire and colonial politics.Darcy Grimaldo Grigsby shows that these paintings about occurrences in the West Indies, Syria, Egypt, Senegal, and Ottoman Empire Greece are preoccupied not with mastery and control but with loss, degradation, and failure, and she explains how such representations of crises in the colonies were able to answer the artists' longings as well as the needs of the government and the opposition parties at home. Empire made painters devoted to the representation of liberty and the new French nation confront liberty's antithesis: slavery. It also forced them to contend with cultural and racial differences. Young male artists responded, says Grigsby, by translating distant crises into images of challenges to the self, making history painting the site where geographic extremities and bodily extremities articulated one another.

    His art represents an ongoing dialogue with artists from Rembrandt to Goya to Munch, Beckmann, Giacometti, and de Kooning--whom he recognized for their insights into the human condition. The human touch, so often absent in contemporary work, is distinct in Oliveira's art. His paintings and monotypes bear the mark of his brush in the tactile quality of the paint and the unique printed surfaces of his monotypes. He lived and worked in the San Francisco Bay Area, where he was professor emeritus of art at Stanford University, Oliveira is widely regarded as a key figure in American art, and his paintings, monoprints, drawings, watercolors, and sculpture have attracted an international audience. This book is the most comprehensive study to date of Oliveira's career as artist and teacher. Generously illustrated with 172 images, more than 100 in color, and including valuable, previously unpublished biographical and bibliographical information, Nathan Oliveira accompanied the major traveling exhibition of the same name.Peter Selz's authoritative text weaves key moments in Oliveira's professional life together with compelling readings of the paintings themselves. Selz, who curated the exhibition, succeeds brilliantly in establishing a sense of where Oliveira came from, what inspired him, and how he thought of himself as an artist. Selz discusses Oliveira's beginnings as the son of Portuguese immigrants, his early exposure to Bay Area artists, and his formative experience of studying with Max Beckmann. Selz also traces the artist's affinity to his older contemporaries, his search for an expressive relationship between form and space that found resonance in presentation of the single figure, and the exhibitions and collaborations that shaped his career. Susan Landauer's introduction provides an overview of the artist's work, while Joann Moser considers Oliveira's prints and drawings. Gary Carson's chronology, bibliography, and list of Oliveira's solo exhibitions complete this landmark publication, which fills an important gap in bringing Oliveira's powerful paintings and prints to the attention of a much larger public.

    He has enormous popularity as the foremost artist of the dance - with more than half his vast body of paintings, pastels, drawings and sculptures devoted to the on- and off-stage activities of ballerinas - and this catalogue, accompanying an exhibition, illuminates the theme in its historical context.

    Kawara's existence is documented solely through his daily art-making practice. Best known are his Date Paintings (1965-ongoing), in which he methodically creates a single painting a day, with simply the date written on it. This book is a rare chance for his followers to unravel more of the mystery of this cult figure, and for less familiar readers to be introduced to his fascinating life and work. A unique feature of this book is the Tribute section, which reflects the artist's lifelong commitment never to be personally documented in his own words. A collection of short statements by 30 individuals selected personally by Kawara - among them artists Lawrence Weiner and Dan Graham, and cultural theorist Homi Bhabha - create an indirect 'portrait of the artist'.In the Survey, Curator Jonathan examines the artist's long-standing career: from his early figurative painting in the 1950s, to his later, text-based Conceptual art. Curator René Denizot analyses in his Focus a two-person exhibition combining Kawara's work with Alberto Giacometti's, revealing both artists' shared concern for the essence of human existence. The artist's interest in the nature of consciousness is reflected in a scientific essay he has selected for his Artist's Choice from the academic Journal of Consciousness Studies. In the Artist's Writings, a series of handwritten love letters in an indecipherable code reflect the mix of the impersonal and the deeply humanistic threads that run through Kawara's art.

    Particularly in Iran and China, the results were far-reaching: the Mongols imposed enormous changes but at the same time were profoundly influenced by the highly developed civilizations of their new subjects. Greater Iran was ruled for a century (1256-1353) by the Mongol dynasty known as the Ilkhanids. These Mongol masters first opposed and then enthusiastically adopted Islam. They became sponsors of a brilliant cultural flowering that encompassed the writing of histories, city-building, and many branches of the arts. Local Persian artistic traditions were themselves transformed by Mongol preferences and by contracts with the arts of Europe and especially China, as wares and craftsmen from China and Iran traveled back forth across the empire." More than two hundred outstanding objects exemplifying all these branches of the arts are illustrated in color and fully described in this catalogue. Eight distinguished scholars in the field present the historical and political background of the Ilkhanid era and address such subjects as manuscript illustration, religious art, and the transmission of design motifs across Asia. Also included are two technical studies, maps, a genealogical chart, and a complete bibliography.

    The result of years of careful preparation, these volumes cover the artistic production and biographies of nearly 200 Chicano/a artists from across the United States, Mexico, and elsewhere. Produced with the support of the Center for Latino Initiatives of the Smithsonian Institution, the Inter-University Program for Latino Research, and numerous art organizations around the nation, this book represents a major advance in understanding, appreciation, and dissemination of Chicano/a art.

    343 pages, illustrations (mostly colour).

    In this dazzling book, photographs and exhaustive texts illustrate how the promise of a glorious rebirth pervaded the daily life of Egyptians, from commoners to the most powerful pharaohs.The Quest for Immortality accompanies an exhibition of Egyptian funerary art by the same name, which dates from nearly two thousand years before the Christian era. Drawn from the collection of Cairo's Egyptian Museum, this major exhibition opens at the National Gallery of Art in Washington, D.C. in 2002 and travels throughout the United States over a five-year period before an extended tour in Europe. Objects such as coffins, tombs, masks, jewelry, papyri, sarcophagi, and monumental and small-scale sculpture reveal the reverence and awe with which this highly developed ancient culture considered the mystery of death. Fascinating essays explore Egyptian art history, customs, and worship, with specific focus on the Amduat, a book devoted to the pharaoh's twelve-hour journey to the afterlife. Additional writings detail the background of the collection and focus upon the role of art in ancient Egypt. Throughout, readers will experience the artistry of the ancient Egyptians as it comes to life in this magnificent book.

    But what happens when all boundaries have been crossed, all taboos broken, all limits violated?Transgressions is the first book to address this controversial subject. Here Anthony Julius traces the history of subversion in art from the outraged response to Manet's Le Déjeuner sur l'Herbe to the scandal caused by the grant programs of the National Endowment for the Arts a century and a half later. Throughout the book, and supported by the work of such artists as Marcel Duchamp, the Chapman brothers, Andres Serrano, Damien Hirst, Gilbert & George, Paul McCarthy, Jeff Koons, Hans Haacke, and Anselm Kiefer, Julius shows how the modern period has been characterized by three kinds of transgressive art: an art that perverts established art rules; an art that defiles the beliefs and sentiments of its audience; and an art that challenges and disobeys the rules of the state.The evidence assembled, Julius concludes his hard-hitting dissection of the landscapes of contemporary art by posing some important questions: what is art's future when its boundary-exceeding, taboo-breaking endeavors become the norm? And is anything of value lost when we submit to art's violation?Transgressions is not a comfortable—still less a comforting—read, but it has a powerful urgency that makes it an essential document for anyone involved in our cultural life at the beginning of the twenty-first century.

    This box offers a unique peek at this modern legends vibrant, chaotic life, with exact reproductions of fascinating ephemera from the Factory years and beyond.

    This highly illustrated book, available for the first time in paperback, shows that the pagan imagination existed sidebyside often uneasily with the official symbols, doctrines, and art of the Church. Godwin carefully documents how pagan themes and gods enhanced both public and private life. Palaces and villas were decorated with mythological images/ stories, music, and dramatic pageants were written about pagan themes/ and landscapes were designed to transform the soul. This was a time of great social and cultural change, when the pagan idea represented nostalgia for a classical world untroubled by the idea of sin and in no need of redemption.A stunning book with hundreds of photos that bring alive this period with all its rich conflict between Christianity and classicism.

    The first major study of the work of Louis Faurer, known for his raw, melancholy and psychologically charged photographs of life on the street, and in particular for his evocative shots of 1940s and 1950s Times Square.

    Challenging centuries of misconceptions that have obscured the sophisticated nature of African art, Garlake focuses on seven key regions--southern Africa, Nubia, Aksum, the Niger River, WestAfrica, Great Zimbabwe, and the East African coast--treating each in detail and setting them in their social and historical context. Garlake is long familiar with and has extensive practical experience of both the archaeology and the art history of Africa. Using the latest research andarchaeological findings, he offers exciting new insights into the works native to these areas, and he also puts forth new interpretations of several key cultures and monuments. Acknowledging the universal allure of the African art object, this stunning book helps us to understand more about the ways in which this art was produced, used, and received.

    David Lewis-Williams is world renowned for his work on the rock art of Southern Africa. In this volume, Lewis-Williams describes the key steps in his evolving journey to understand these images painted on stone. He describes the development of technical methods of interpreting rock paintings of the 1970s, shows how a growing understanding of San mythology, cosmology, and ethnography helped decode the complex paintings, and traces the development of neuropsychological models for understanding the relationship between belief systems and rock art. The author then applies his theories to the famous rock paintings of prehistoric Western Europe in an attempt to develop a comprehensive theory of rock art. For students of rock art, archaeology, ethnography, comparative religion, and art history, Lewis-Williams' book will be a provocative read and an important reference.

    The secrets unfold through detailed instructions, traditional motifs and patterns with the temptation to be challenged by the creative aspects of this Irish lace.

    Above all, he was a devout Catholic who put his talents in the service of the Church and left the world an immortal legacy. Here is the full story of Michelangelo's life and works, set among the wars and intrigues of Renaissance Italy: the sculpting of the David, the Pieta, and the Moses; the painting of the ceiling of the Sistine Chapel and the Last Judgment; the building of St. Peter's--and much more. A whole era comes vividly to life in these pages: Raphael, Leonardo da Vinci, and Lorenzo the Magnificent; Julius II, the warrior Pope who wanted to be shown with a sword in his hand rather than a book; Paul III, who wanted Michelangelo's services for thirty years and would let nothing stop him; Cosimo de' Medici, the Grand Duke of Florence, and many more. There are many modern biographies of Michelangelo, but all of them use this Life as a major source. And no wonder: Giorgio Vasari, the author, was a friend and confidant of Michelangelo. Himself an important painter and architect, he worked with Michelangelo and understood his genius. He carefully researched this Life, using all the sources available to him, including Michelangelo's letters, plans, and conversations. The result is a vivid and balanced portrait of a great artist and a great man.

    This innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures. Featuring more than 100 illustrations, the book examines museums of natural history, world's fairs, scientific and popular photography, and the early filmmaking efforts of anthropologists and commercial producers to investigate how cinema came to assume the role of mediator of cultural difference at the beginning of the twentieth century.

    Richard Powell's study concentrates on the works of art themselves and on how these works, created during a time of major social upheaval and transformation, use black culture as both subject and context.From musings on the "the souls of black folk" in early twentieth-century painting, sculpture, and photography to questions of racial and cultural identities in performance, media, and computer-assisted arts in the 1990s, the book draws on the works of hundreds of artists including Jean-Michel Basquiat, Romare Bearden, Elizabeth Catlett, Lois Mailou Jones, Wifredo Lam, Jacob Lawrence, Spike Lee, Archibald Motley, Jr., Faith Ringgold, and Gerard Sekoto.This revised edition includes expanded coverage of video art and a new chapter that discusses work by a number of artists who have newly risen to prominence, such as Chris Ofili, Kara Walker, and Renée Cox. Biographies of more than 170 key artists provide a unique art-historical reference.Placing its emphasis on black cultural themes rather than on black racial identity, this groundbreaking book is an important exploration of the visual representations of black culture throughout the twentieth century and into the twenty-first.

    This fascinating book, which will help readers to get more from visits to galleries, examines the processes involved in the creation of a painting, including composition, choice of subject matter, and use of color.

    Presenting a complete survey of the restored Sistine Chapel frescoes from Creation scenes to the Last Judgment, the book includes a new text by a prominent American scholar. The stunning photographs, previously published by Abrams in two separate volumes, show brilliant details as well as large, overall views. No other one-volume work on the Sistine Chapel offers such a clear, concise introduction to this perennially popular subject.

    Interpreting Art: Reflecting, Wondering, and Responding introduces readers to the varied methodologies of art interpretation without unnecessary jargon, presenting difficult and complex issues in an understandable way for beginning students without alienating more sophisticated readers.

    Each book contains 55 of the photographer s key works, presented chronologically and through them tells the photographer s own story. These books are small, but surprisingly rich in content and reproduction quality. They are a most economical way to bring the world of photography into your home. Each book is 128 pp. 6 1/4 x 5 3/4 , softbound.

    His ambition was to paint every tribe. He fell short. But what he did achieve, and the subject of this splendid volume, is a remarkable look into the faces and daily activities of Native Americans before their lands and their numbers were so radically diminished. And while Catlin was clearly influenced by the idea that Indians were Noble Savages (rapidly acquiring the vices of the white man while losing their "savage" virtues), his passion for his work is evidence of a profound respect and affection for his subjects, clearly demonstrated in this magnificent book.

    Learn how to create tone, texture, light, shade and atmosphere, exercises, step-by-step demonstrations and a gallery of inspirational pictures showing trees, mountains, lakes, skies, boats, buildings, and more.

    By placing meticulously rendered objects in environments that carefully recreate the details of a museum setting, down to their wall colors, lighting, display cases and wall labels, Wilson incisively explores the question of how the museum consciously and unconsciously perpetuates racist beliefs and behavior. From Egyptian and classical Greek and Roman sculpture to African-American memorabilia, from the primativist painting of Picasso to the uniforms worn by often black museum guards, Wilson's provocative juxtapositions speak to a complex history of museological omission, manipulation and oversight. This book marks the artist's first mid-career survey.

    Writer Cullison's preface tells of her attraction to Lowbrow art, a genre she says migrated from the paintings on war planes during World War II to the streets, to the commercial world, to mus

    

    The London Cries is a body of graphic art produced between the sixteenth and nineteenth centuries that provided continually changing representations of the tradesmen and street hawkers that roamed London from its beginnings right up to the present. Analyzing prints, drawings, lithographs, and paintings done during this time period, Sean Shesgreen traces portraits of ordinary men and women who made their living on the streets of this bustling city; characters include milkmaids, cheapjacks, beggars, prostitutes, Merry Andrews, religious fanatics, and other colorful figures of their stripe.Images of the Outcast examines the Cries in relationship to the historical actualities of street trading, bourgeois attitudes toward the poor, and other forms of art. Through a lively discussion of the prints, drawings, sketches and oils of artists, from the anonymous craftsmen of the sixteenth century to Theodore Gericault and others, Shesgreen provides an important overview of this significant genre. Many of the riveting images the author discusses have never been published or analyzed before.

    

    As well as helping Warhol produce many, now instantly recognizable, works of art, Malanga also appeared in several Warhol movies-including "Couch "and "Chelsea Girls"-and was the Velvet Underground's notorious "whip dancer." He has since been widely published as a poet and photographer in his own right. "Archiving Warhol "is Malanga's first major book publication on Warhol and his years at the Factory. Primarily a collection of his many writings on, and interviews with, Andy Warhol over the years, it is heavily illustrated with photographs from Malanga's personal archive, including many shots published here for the first time. Subjects include members of Warhol's enigmatic entourage such as Lou Reed and the Velvet Underground, Edie Sedgwick, Nico, Bob Dylan, and of course Warhol and Malanga himself."Archiving Warhol "provides a unique historical insight into Andy Warhol's art and philosophy, and is an invaluable document of the Warhol 1960s, one of the most crucial and innovative periods in modern art.Definitive document on Warhol by close friend and collaborator, Gerard Malanga. Complements major Warhol exhibition at Los Angeles' MOCA and Robert Hull Fleming Museum at the University of Vermont. Ongoing media and consumer interest in "Warholiana." National press coverage, full online promotion."An extraordinary selfless artistic partnership . . . and an insightful peek at life at the epicentre of sixties Pop Art."-"Evening Standard"

    Among the most beloved of his works are those in which animals-birds, fish, cats, and others-seem to frolic across the page. p/pThis collection of color illustrations, facts, and fun engages younger audiences in an artistic dialog as educational as it is liberating. Author Christian R

    He had an equally brilliant career as a painter. Hofmann operated a famous teaching studio first in Europe and then in New York at a pivotal moment when a new kind of subjective, non-figurative art was emerging as the dominant movement. His work is insistent upon color, texture, and form, and his astoundingly liberated later canvases are more than expressions of a creative process; they are, in the words of art historian Robert Goldwater, "...less the culmination of a life-long development than a kind of rebirth, an entirely new, youthful phase."

    After introducing historical events and cultural and artistic trends from about 1760 that would exert their influence well into the new century, author Petra ten-Doesschate Chu discusses the advent of Modernism and its many interpretations. She considers the changing relationship between artist and audience; evolving attitudes toward the depiction of nature; and the confrontation of European artists with non-Western art due to expanding trade and travel. An impressive 550 illustrations -- 200 in full color -- illustrate her themes.Incidents from individual artists' lives enrich the reader's understanding of the art, as do sidebars that focus on specific works, techniques, or historical circumstances. Although painting and sculpture are central in her narrative, Chu also covers a broad scope of visual culture, including architecture, decorative arts, and the burgeoning fields of photography and graphic design. A timeline, glossary, and thorough bibliography, listing not only books but also films related to the period, complete this major achievement.

    Aileen Ribeiro, a historian of dress, also looks at such subjects as developments in retailing and distribution, etiquette, the rise of the dress designer and couturier, the evolution of ready-made clothes, fancy dress, and the masquerade. This revised edition takes the text and bibliographic material in the previous volume and adds many new illustrations in colour.

    Accompanying the first major Modigliani exhibition in the U.S. in over 40 years, the book moves beyond the romantic myths that have sprung up around the artist's tragically brief life to provide a fuller, richer understanding of his art, as well as the role of Montparnasse in the development of modern art. In addition to 64 paintings, sculptures, and drawings by Modigliani, the book features works by other Montparnasse artists such as Brancusi, de Chirico, Soutine, and Picasso. A special highlight is the inclusion of excerpts from a recently discovered, never-before-published novelette written by one of Modigliani's lovers about their experiences together. This striking volume provides a serious examination of Modigliani's work with extensive new documentation.

    In fact, he painted his masterpiece, Starry Night, from his room in an asylum. Find out what drove Vincent Van Gogh to create brilliant paintings -- and finally, to take his own life.

    From Absolut Vodka’s sponsorship of art shows to ABN-AMRO Bank’s branding of Van Gogh’s self-portrait to advertise its credit cards, we have borne witness to a new sort of patronage, in which the marriage of individual talent with multinational marketing is beginning to blur the comfortable old distinctions between public and private.Chin-tao Wu’s book is the first concerted attempt to detail the various ways in which business values and the free-market ethos have come to permeate the sphere of the visual arts since the 1980s. Charting the various shifts in public policy which first facilitated the entry of major corporations into the cultural sphere, it analyses the roles of governments in injecting the principles of the free market into public arts agencies—in particular the Arts Council in Great Britain and the National Endowment for the Arts in the USA. It goes on to study the corporate take-over of art museums, highlighting the ways in which ‘cultural capital’ can be garnered by various social and business ‘elites’ through commercial involvement in the arts, and shows how corporations have succeeded in integrating themselves into the infrastructure of the art world itself by showcasing contemporary art in their own corporate premises.Mapping for the first time the increasingly hegemonic position that corporations and corporate elites have come to occupy in the cultural arena, this is a provocative contribution to the debate on public culture in Britain and America.

    The bold and colorful table linens, curtains, pillow shams, clothing, and other textiles typical of the period were often stenciled or embroidered with the same stylized motifs inspired by nature - such as flowers and insects - that appear in Arts and Crafts pottery, metalwork, and other decorative arts. This lavishly illustrated book provides historical information as well as decorating inspiration. More than 25 photos show the textiles in period room settings located in notable Craftsman style homes around America, while other illustrations include vintage advertisements and detailed photographs of individual works. Chapters outlining the needlework techniques and how to care for antique textiles round out the book.

    Such was the impact of the artists' particular vision, that life often followed art, and the fashions of a particular era often reflect the pictorial creations of its greatest painters. In his portraits, Van Dyck, for example, created the elegant and aristocratic style which we associate with the court of King Charles I. Depictions of clothed and nude women from different periods show how the aesthetic distortions which governed the representation of women's fashions extended to the unclothed figure, which is similarly distorted according to current notions of beauty.To illustrate her theme, the author draws on works by artists over a span of six centuries - Van der Weyden, Tintoretto, Van Dyck, Reynolds, Gainsborough, Delacroix, Friedrich, Tissot, Vuillard, and Picasso. Fashion plates, photographs, and even film stills are used to show how the issues raised by the depiction of drapery in paintings extend to other media in the modern period.

    Techniques of the Great Masters of Art

    Arguably the country's greatest public painter, he created murals that decorated museums in Amiens, Rouen and Lyons as well as major buildings in Paris - most notably the Pantheon, the Sorbonne and the city hall. Critics from the political right, left and centre, the avant-garde, the Academy, and the state all agreed on the importance of Puvis's murals. Avant-garde artists greatly admired and drew from his work. There was much controversy, however, over the meaning of these murals.

    His brief but astoundingly eventful life has inspired the scrutiny of other painters, film-makers, psychologists and novelists, and his personal celebrity outstrips even the substantial fame of his works.While the popular appeal of such pictures as Sunflowers or Starry Night resides in their seemingly emotion-fuelled spontaneity, they are in fact the products of a reflective and idea-driven man who was profoundly interested in and inspired by all manner of literary, musical and artistic sources. Spanning his early work in the Netherlands, the formative years in and around Paris, and the intense, vibrant studies of peasants and the countryside of the South of France, this survey makes extensive use of Van Gogh's own correspondence to illuminate his artistic development and the personal vision that lies behind his work. The result is a balanced and sensitive account of this most innovative and influential of artists.