Adopting an innovative year-by-year approach, Foster, Krauss, Bois and Buchloh present more than one hundred short essays, each focusing on a crucial event - such as the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition - to tell the story of the dazzling diversity of practice and interpretation that characterized the art of the period. are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' fine texts are more than six hundred of the most important works of the century, most reproduced in full colour. The book's flexible structure and extensive cross-referencing allow readers to plot their own course through the book and to follow any one of the many narratives that unfold through the century, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as Surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. and issues surrounding the art. In their perceptive introductions, the four authors set out and explain the different methods of art history at work in the book, providing the reader with the conceptual tools to further his or her own study. Two roundtable discussions - one at mid-century, the other at the close of the book - consider some of the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.

    Her "floating abstractions," in which lines and free bands of color emerge almost imperceptibly, can be reproduced only with difficulty. Her writings, on the other hand--although certainly not intended as programmatic statements--offer valuable clarity regarding her own works and poetic insight about art in general. Since its original publication in 1991, this volume of Martin's writings has been a fundamental document for libraries of artists, collectors, and critics. Rather than identifying herself with her Minimalist peers, Martin has aligned herself with the ancient Greeks, Egyptians, and Chinese, asserting that "the function of art work is . . . the renewal of memories of moments of perfection." In combination with illustrations of her works, these texts--including lectures, stories recorded by critic Ann Wilson, passages ostensibly arranged in associative sequences, and "fragmentary ideas"--form an eloquent artist's statement by the creator of "silent paintings."

    Focusing on the youth-driven phenomenon of otaku (roughly translated as “geek culture” or “pop cult fanaticism”), Takashi Murakami and a notable group of contributors explore the complex historical influences that shape Japanese contemporary art and its distinct graphic languages. The book’s title, Little Boy, is a reference to the atomic bomb dropped on Hiroshima in 1945, thus clearly locating the birth of these new cultural forms in the trauma and generational aftershock of the atomic bomb.This generously illustrated book showcases the work of key otaku artists and designers, many of whom are cult celebrities in Japan, and discusses their feature film and video animations, video games and internet sites, music, toys, fashion, and more. In the process, the following questions are posed: What is otaku, and what does it tell us about contemporary social, economic, and cultural life in Japan and throughout the world? How is it related to the pervasive and curious fixation on “cuteness” evident in Japanese popular culture? What impact did the atomic devastation of World War II have on the development of Japanese art and culture?This brilliantly designed, bilingual (English and Japanese) publication examines these themes to explore how contemporary Japanese art has become inseparable from the subcultural realms of manga and animé (Japanese animation)—a world where meticulous technique, apocalyptic imagery, and high and low cultures meet.Little Boy concludes Murakami’s “Superflat” trilogy, a project conceived in 2000 to introduce a new wave of Japanese artists and to place their work in the historical context of traditional styles and concepts.

    From his earliest sculptures to his recent highly textured paintings, Anselm Kiefer has woven themes of heaven and earth into his work, exploring the polarities of these ideas while struggling to define the transcendent quality that places art squarely in between. Destruction and rebirth, glory and shame, sin and redemption all figure largely in Kiefer's often-controversial depictions of Germany's physical and cultural landscape. This catalog of more than sixty reproductions includes Kiefer's first work, "Heaven," as well as numerous other rare early works. It features watercolors produced specifically for the publication as well as an interview with the artist.

    A beautiful, unusual and engaging compendium of art history, providing an accessible entree into the world of art for everyone, regardless of their experience.From cave paintings to the Renaissance, Impressionism to Pop Art, The Collins Big Book of Art takes you on a journey through the history of art in a delightful and informative way. With more than 1200 works of art represented, this is both a coffee– table book and an educational experience; cross–referenced throughout, and including the following sections and features:A Chronology spans the history of art, step by step, from 38,000 BC to the present. Pieces from around the world are juxtaposed to place them in historical context. Each is labelled with date, country, title, artist, materials, size and current location. In addition, each piece of art is tied to its movement and key themes, which are pursued in greater detail in the other sections of the book.Turning Points, interspersed throughout the chronology, delve into both the major artistic movements and highlight the technical breakthroughs which changed how artists of the time worked, and affected how they saw the world. For example, the glass lens allowed more lifelike portraiture in the early Renaissance, the ability to put paint into tubes gave the Impressionists the freedom to work outdoors, and Freud's work in psychoanalysis had a major impact on Surrealism.The second part of the book explores enduring Themes of art, taking a subject and showing how artists through the ages have depicted it. Various approaches to portraits and landscapes, allegory and religion, still life and abstraction are compared and contrasted, using carefully selected images to illuminate each point made.In addition, an extensive Reference section allows the reader to access information in numerous ways; the multiple indices include a glossary of terms, artists registry, index of museums, and more.With easy navigation and an engaging presentation of the material, The Collins Big Book of Art will inform, inspire, and entertain art enthusiasts at any level of understanding and appreciation.

    What kind of person could have created this universal image, one that so vividly expressed all the uncertainties of the twentieth century? What kind of experiences did he have? In this book, the first comprehensive biography of Edvard Munch in English, Sue Prideaux brings the artist fully to life. Combining a scholar’s precision with a novelist’s insight, she explores the events of his turbulent life and unerringly places his experiences in their intellectual, emotional, and spiritual contexts.With unlimited access to tens of thousands of Munch’s papers, including his letters and diaries, Prideaux offers a portrait of the artist that is both intimate and moving. Munch sought to paint what he experienced rather than what he saw, and as his life often veered out of control, his experiences were painful. Yet he painted throughout his long life, creating strange and dramatic works in which hysteria and violence lie barely concealed beneath the surface. An extraordinary genius, Munch connects with an audience that reaches around the world and across more than a century.

    Darius examines the evolution of Batman's origins, as well as previous attempts to film that story. His scene-by-scene analysis, addressing changes from the script, themes, and comics correlations, expands the reader's understanding through crisp, insightful language. Also explores the film's realism in contrast to past Batman films, the film's reception, and its box office.

    How could there have been such deft and skillful artists in the world over 30,000 years ago? Noted art historian Nigel Spivey begins with this puzzle to explore the record of humanity’s artistic endeavors and their impact on our own development. Embarking with the motto, “Everyone is an artist,” Spivey takes us on a quest to find out when and how we humans began to explore the deepest questions of life, using visual artforms. With the help of vivid color illustrations of some of the world’s most moving and enduring works of art, Spivey shows how that art has been used as a means of mass persuasion, essential to the creation of hierarchical societies, and finally, the extent to which art has served as a mode of terror management in the face of our inevitable death. Packed with new insights into ancient wonders and fascinating stories from all around the globe, How Art Made the World is a compelling account of how humans made art and how art makes us human.

    Occupying twenty-two thousand acres of the Piedra Lumbre basin, this fabled place was the love of artist Georgia O’Keeffe’s life, and her depictions of the landscape catapulted Ghost Ranch to international recognition. Building on the history of the Abiquiu region that she told in Valley of Shining Stone, Ghost Ranch historian Lesley Poling-Kempes now unfolds the story of this celebrated retreat. She traces its transformation from el Rancho de los Brujos, a hideout for legendary outlaws, to a renowned cultural mecca and one of the Southwest’s premier conference centers. First a dude ranch, Ghost Ranch became a magical sanctuary where the veil between heaven and earth seemed almost transparent. Focusing on those who visited from the 1920s and ’30s until the 1990s, Poling-Kempes tells how O’Keeffe and others—from Boston Brahmin Carol Bishop Stanley to paleontologist Edwin H. Colbert, Los Alamos physicists to movie stars—created a unique community that evolved into the institution that is Ghost Ranch today. For this book, Poling-Kempes has drawn on information not available when Valley of Shining Stone was written. The biography of Juan de Dios Gallegos has been enhanced and definitively corrected. The Robert Wood Johnson (of Johnson & Johnson) years at Ghost Ranch are recounted with reminiscences from family members. And the memories of David McAlpin Jr. shed light on how the Princeton circle that included the Packs, the Johnson brothers, the Rockefellers, and the McAlpins ended up as summer neighbors on the high desert of New Mexico. After Arthur Pack’s gift of the ranch to the Presbyterian Church in 1955, Ghost Ranch became a spiritual home for thousands of people still awestruck by the landscape that O’Keeffe so lovingly committed to canvas; yet the care taken to protect Ghost Ranch’s land and character has preserved its sense of intimacy. By relating its remarkable story, Poling-Kempes invites all visitors to better appreciate its place as an honored wilderness—and to help safeguard its future.

    The story begins in the years before WWII when a penniless Japanese child is torn from her family to work as a servant in a geisha house. Despite a treacherous rival who nearly breaks her spirit, the girl blossoms into the legendary geisha Sayuri (Ziyi Zhang). Beautiful and accomplished, Sayuri captivates the most powerful men of her day, but is haunted by her secret love for the one man who is out of her reach (Ken Watanabe).The Newmarket Pictorial Moviebook explores the intricate process of re-creating the period and world of the geisha. Special sections showcase production design, makeup, choreography, and costumes, featuring kimonos created especially for the movie by five-time Oscar®-nominated costume designer Colleen Atwood. Sidebars throughout also provide fascinating historical background on the geisha culture.

    Van Gogh copied Ukiyo-e prints, and art nouveau potters introduced flowing, organic themes, first seen in Japanese ceramics. This book presents a broad survey of the West's extraordinary love affair with Japan, beginning with the first contacts in the sixteenth century, and culminating in the artistic frenzy that swept Europe and America in the second half of the nineteenth century. For the first time, Lionel Lambourne also uncovers the countercurrent of Western influence on Japan. The book reviews not only the fine and the decorative arts but also interior decoration, costume and fashion accessories, literature and the theatre, travel, and gardens and plants

    Installation Art provides the first clear account of the rise of installation as a form while revisiting and, in some cases, reassessing many well-known names of post-1960 art. This lavishly produced volume also introduces the reader to a wider spectrum of younger artists yet to receive serious critical attention. Artists featured include Vito Acconci, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Judy Chicago, Olafur Eliasson, Group Material, Isaac Julien, Ilya Kabakov, Yayoi Kusama, Cildo Meireles, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Smithson, Bill Viola, and many others.

    Nothing of the scope and magnitude of this work had ever been conceived; the first complete history of modern art, it is widely regarded as the most influential art history book ever written. The Lives' colorful and detailed portraits of the most representative figures of Italian painting and sculpture trace the flowering of the Renaissance across three centuries. This single-volume edition of selections from Vasari's immense work features eight of the book's most noteworthy artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo da Vinci, Raphael, Michelangelo, and Titian. It also includes an introduction, notes, and glossary; as well as woodcut portraits of each artist by Vasari himself. Students, teachers, and art enthusiasts will find this convenient edition an indispensable resource.

    Comprising six essays, six plate sections and over 600 illustrations this beautiful book provides a perfect introduction to the art of this period. The paintings, scrolls and prints reproduced here demonstrate not only the new urban pleasures of the theatre, restaurants, teahouses and geisha, but also Japan’s love of nature and tradition. Professor Calza’s accessible style provides a fascinating yet scholarly study of such masters as Hokusai, Hiroshige and Utamaro.

    Featuring more than 200 images, most by artists largely unfamiliar to an English-speaking audience, In the Shadow of Yalta is a fascinating portrait of the inspiring art made in a region—and at a time—of critical importance in modern Europe.

    Hilma af Klint (Sweden, 1862–1944), Emma Kunz (Switzerland, 1892–1963), and Agnes Martin (Canada, b. 1912; U.S. citizenship 1950) approached geometric abstraction not as formalism, but as a means of structuring philosophical, scientific, and spiritual ideas. Using line, geometry, and the grid, each of these artists created diagrammatic drawings of their exploration of complex belief systems and restorative practices.Noteworthy among the 150 illustrations in the volume are a large number of works by Hilma af Klint, reproduced here for the first time in a major publication; Emma Kunz’s drawings, exhibited in the United States for the first time in 2005; and approximately 20 early works by Agnes Martin. The book also includes writings by each of the artists, an introduction by Catherine de Zegher, seven essays by distinguished contributors, and brief statements from five contemporary artists.By considering collectively the works of these three artists anew, 3x an Abstraction highlights the artistic contributions of af Klint and Kunz and revisits the work of Martin from a new perspective.

    The Macclesfield Psalter (c. 1335), a jewel of manuscript painting, was virtually unknown before its sale by Sotheby's in 2004.The manuscript offers a window into the medieval world, an intimate view of the faith, sentiments, prejudices, follies, and aspirations of medieval people. Doctors, minstrels, mummers, farmers, dancers, jesters, and beggars mingle on the pages as they would have done on the streets of a busy town. And the marginal imagery tempts the viewer to leave the confines of the prayer book and enter a wonderland of literary conceits, visions, and fables, with naked wild men, a dog dressed as a bishop, or a giant fish swimming across a page.The Macclesfield Psalter is a revealing product of artistic and patronage exchange in the Middle Ages. A complete reproduction of the manuscript at its original size is accompanied by an authoritative text that not only interprets the textual and artistic content but also beguiles the reader through its vivid descriptions and rich insights.

    And when the author happens to be a visual artist, the results can be both intimate and transcendent. This book is a testament to those occasions, a compilation of personal letters by some of America's most revered artists, each one adorned with an illustration. Writing to wives, lovers, friends, patrons, clients, and confidants are such revered artists as Frederick Edwin Church, Thomas Eakins, Winslow Homer, Andrew Wyeth, Rockwell Kent, Lyonel Feininger, John Sloan, Alfred Frueh, Man Ray, Eero Saarinen, Alexander Calder, Gio Ponti, Andy Warhol, and Roy Lichtenstein. Sometimes humorous, sometimes extravagant, but always revealing and intimate, they picture the world around them in charming vignettes, landscapes, portraits, and caricatures. Together with their words, these autobiographical works of art created for private consumption reveal the joys and successes, loves and longings, disappointments and frustrations of their authors' lives. These riveting artifacts are drawn from the collection of the Archives of American Art, Smithsonian Institution, one of the largest repositories of artists' papers in the nation, which celebrates its 50th anniversary in 2005.

    First acting as regent for her young nephew/stepson Thutmose III, she in time assumed the title of king and exercised the full powers of the throne as senior co-ruler. In accordance with Egyptian tradition, Hatshepsut was often depicted as a male king. After her death, however, monuments bearing her image were ruthlessly defaced, and her name was erased from historical accounts.Hatshepsut’s rise to power and the nature of her kingship have long been debated by scholars. This fascinating period, one of immense artistic creativity, is illuminated by this volume’s rich presentation of monumental royal sculpture and reliefs, ceremonial objects, exquisite personal items for everyday use, and dazzling jewelry. Essays focus on influences from the neighboring Near East, Nubia, and the Aegean; the innovative architecture built by Hatshepsut; powerful figures in the royal court during her reign; archaeological finds from this period; and mysteries surrounding the destruction of Hatshepsut’s statues and the obliteration of her name.The first in-depth treatment of the subject, From Queen to Pharoah is an important investigation into the impact of Hatshepsut’s reign on the history, culture, and artistic output of Egypt.

    The Orientalists pursues the richest era of this fascination, the mid to late 19th century, when American and European artists traveled and painted throughout the Holy Land and India. The highly cinematic images they created suggest a great influence on modern visual culture. Travel, art, geography, cultural perception, and social and military history are all woven through the text. An extensive introduction provides a thought-provoking perspective on the evolution of Orientalism and the rise of Islam and its ever-changing relationship to the West. It is within this context that the author introduces us to Orientalist paintings. The author is well aware of September 11, 2001 and its implications on the book which was being researched and formulated in his mind before the horrific events unfolded. He does not pretend

    The Tomb of Tutankhamun and its contents are featured prominently, as are the temples of Luxor and Karnak, the dromos, the Luxor Museum, the Chapel of Achoris, the Valley of Asasif, the Ramesseum, the Valley of the Queens, and the Colossi of Memnon. Dendera, Esna, Abydos Edfu, and Korn Ombo-all peripheral locations to the major sites-are included because their state of preservation makes them especially interesting for visitors and scholars. Weeks has spent his career documenting the regions and infuses this guide with a level of clarity and detail not previously achieved in a handbook.

    This book includes key concepts, biography, survey of work, bibliography of primary texts, and a bibliography of secondary criticism.Adapted from Theory for Religious Studies, by William E. Deal and Timothy K. Beal.

    AUTHOR BIO: Robert Cumming has been the chairman of Christie's Education, London, studied art history at Cambridge University, and his books have won several international awards and include Just Look, Just Imagine, and Looking into Paintings.

    to manga and modern subcultures, tells the story of how the country has nurtured unique aesthetics, prominent artists, and distinctive movements. Discussing Japanese art in various contexts, including interactions with the outside world, Nobuo Tsuji sheds light on works ranging from the Jōmon period to modern and contemporary art. Tsuji's perspective, using newly discovered facts, depicts critical aspects of paintings, ukiyo-e, ceramics, sculpture, armor, gardens, and architecture, covering thousands of years. This book, the first translation into English of Japan's most updated, reliable, and comprehensive book on the history of Japanese art, is an indispensable resource for all those interested in this multifaceted history.

    Berman writes on Hopper's life and his work in New York, drawing extensively on his writings and interviews. Annotation 2005 Book News, Inc., Portland, OR (booknews.com).

    Vasarely's experimentation with optical effects in the 1940s and 50s earned him a central role in the evolution of Op Art. By the late 50s and early 60s, he concentrated on the "democratization of art" by no longer producing his works as expensive originals but in large editions of affordable screen prints; this attempt to redefine the position and function of the artist in society was an important first step in the Pop Art movement. Vasarely's boldly colorful and eye-popping paintings are instantly recognizable and remain entirely modern and relevant today.

    More than 100 of Desiderio's works, some of them enormous canvases and triptychs, are faithfully reproduced here, and, thanks in part to five gatefolds their painstaking detail and sweeps of emotion can be truly appreciated. Desiderio's repeated themes and motifs, appearing in often perplexing narratives of great psychological complexity, strike at the intellect and the heart: art history (often manifested in piles of books open to paintings), human intimacy, heroic behavior and, perhaps most viscerally, the plight of the artist's handicapped son, Sam. Rounding out the volume are many works on paper and excerpts from the artist's sketchbooks, an interview by Donald Kuspit, and essays by Lawrence Weschler, Barry Schwabsky and Mia Fineman. Most of all, in Desiderio's highly original works, the viewer will rediscover painting's ability to both astonish and move.

    Subtitled "Additional Observations on the Beauty/Ugliness of Mostly Pillowy Girls," Underbelly is a hardcover art book featuring over 50 of Cooper's luminescent oil paintings and lush drawings, each focusing on the female form. Underbelly is the follow-up to Cooper's acclaimed first book of paintings, Overbite. Since then, Cooper has been producing new work at a fevered pitch for gallery shows and patrons alike. Although much of the work in Underbelly appears to have slithered out of a similar same place as Overbite, this latest batch has a decidedly darker and more urban flavor.

    Sherman systematically photographed more than 200 families, groups, and individuals while they were being held by customs for special investigations. This volume collects and provides an essential revaluation of Sherman's striking portraits, which predate August Sander's cataloging efforts by several years. A historical document of unprecedented worth, "Augustus F. Sherman: Ellis Island Portraits" includes almost one-hundred portraits taken from 1905 through 1920. The subjects are frequently dressed in elaborate national costumes or folk dress, emphasizing the variety and richness of the cultural heritage that came together to form the United States. Romanian shepherds, German stowaways, Russian vegetarians, Greek priests, and Ghanaian women in elaborately patterned dresses, are treated with equal gravitas. The resulting body of work presents a unique and powerful picture of the stream of immigrants who came through Ellis Island. In its time, the material contributed to the larger project of ethnographic categorization and typology typical of the early twentieth century, much as Edward S. Curtis's portraits romanticized the "last Indians" or John Thomson's "Street Life in London" identified and codified social class in the late 1800s. Though originally taken for his own personal study, Sherman's work appeared in the public eye as illustrations for publications with titles such as "Alien or American," and hung on the walls of the custom offices as cautionary or exemplary models of the new American species. In this book, Peter Mesenh ller, Research Associate with theRautenstrauch-Joest-Museum of Anthropology in Cologne, Germany, provides new critical context and analysis of this rich collection, but also addresses the individual images as powerful, engaging photographs created by a master portraitist. The publication is accompanied by a traveling exhibition that will open at the Ellis Island Immigration Museum in the summer of 2005.

    Ranging in date from the 2nd century BC to the 6th century AD, the exquisite Buddhist paintings and sculptures that they found there now rank among the world's most important cultural treasures. Here, Benoy K. Behl captures some of the finest works of Buddhist art in all their glory and luminosity. The exquisite murals depict the Jatakas (tales of previous incarnations) of Lord Buddha, scenes of princely processions, ladies with their handmaidens, bejewelled animals, ascetics in monasteries and fantastical birds and beasts, all with a startling degree of sophistication. What is unique about the paintings is their humanity: the men and women of this world have the capacity to adore - they look upon each other with expressions of infinite caring. Ajanta provides virtually the only evidence remaining of painting styles that first developed in India and then travelled with the spread of Buddhism as far as Japan and Korea. potent symbol of the great beauty of India's rich artistic past.

    This one is unabashedly devoted to the far left of the far left. DANCIN' IN THE STREETS is a collection of writings from two legendary but hard-to-find journals, The Rebel Worker & Heatwave, known for their highly original revolutionary perspective, innovative social/cultural criticism & uninhibited class-war humor. "With its heady mix of surrealism, the [ndustrial Workers of the World heritage, free jazz & Bugs Bunny...Look here for links between the Beat Generation 'Mimeo Generation' & later Underground Press, but also between traditional Marxist theory & the new 'critique of everyday life' developed by an increasingly defiant & countercultural young left that made Martha & the Vandellas' 'Dancin' in the Streets' its international anthem".--Paul Buhle

    In her work as an artist, Zittel investigates domestic and urban life in Western societies. Exploring the various aspects of living, the artist designs her own household settings to serve as a test case for her experimental living structures. Her work has provoked debates about the changed meaning of domestic and collective space and the possibilities for new adaptations to urban conditions today. Richly illustrated, Andrea Zittel: Critical Space includes nearly two hundred reproductions of Zittel's works of art, many of which are published here for the first time. The book includes over one hundred sculptures and drawings, documentation of early work, and recent site-specific work in the Mojave Desert of California. With essays that touch upon urbanism, architecture, design and consumer culture, this catalog offers an extensive analysis of Zittel's contribution to contemporary trends in art and architecture.

    As works he held on to or reacquired and kept in his house during his lifetime, they embody the heart of his artistic vision and convey a deeply personal slant. As pictures he hung and lived with at Olana, they tell the larger story of that extraordinary place and are as illuminating when seen in context as on their own.--from the IntroductionFrederic Edwin Church (1826-1900) traveled the world, captured its beauty in countless paintings, and brought it home to live at Olana, his castle on the Hudson. The name was inspired by a reference Church found to a fortress or a treasury-storehouse in ancient Persia. This extraordinary selection of Church's paintings from his collection at Olana puts the most cherished of his treasures on full display in a volume that includes eighty color plates.Church's paintings, among the most acclaimed examples of art of the Hudson River School, are found in museums and private collections around the globe. However, Church kept some of his art close by during his lifetime. The rich collection that remains at Olana includes about seven hundred pieces, including notebooks, drawings, and oils, both sketches and completed canvases. They cover the full range of Church's career chronologically and thematically. The highlights from his personal collection are found in the touring exhibition that accompanies this book. The introduction by John Wilmerding and a substantial essay by Kevin J. Avery place the work into the context of Church's life and travels and examine Church's influences and the public reception of his art. Throughout Treasures from Olana, they discuss how profoundly Church's hilltop home and the surrounding landscape inspired and informed his work. His paintings, in turn, illuminate Olana more than a century after his death. The Olana Partnership, Hudson, N.Y., and New York State's Office of Parks, Recreation, and Historic Preservation, Albany, N.Y., organized Treasures from Olana: Landscapes by Frederic Edwin Church.

    Angels & Faires is a beautiful reference book that takes a look at some of the art that has been produced as a result of a fascination with these nysterious beings.

    A pivotal figure in twentieth-century art, Louise Bourgeois (b. 1911, France) emigrated to New York in 1938 and is still actively working and exhibiting today. From Bourgeois's formative struggle with the father figures of surrealism, including Andre Breton and Marcel Duchamp, to her galvanising role in the feminist art movement of the 1970s, to her subsequent emergence as a leading voice in postmodernism, this book explores the artist's responses to war, dislocation, and motherhood, to the predicament of the woman artist and the politics of sexual and social liberation, as a dialogue with psychoanalysis. Convinced that she could express deeper things in three dimensions, Bourgeois abandoned painting for sculpture in the 1940s,

    Ranging from delightful renderings of children and elegant portraits of noblemen and women to vigorous animal studies and beautiful landscapes, Rubens’s drawings are renowned for their superb quality and variety. This exquisite book presents—in beautiful full-color reproductions—more than one hundred of the finest and most representative of Rubens’s drawings, from private and public collections around the world. Essays by Anne-Marie Logan and Michiel C. Plomp provide overviews of Rubens’s career as a draftsman and of the dispersal of his drawings among collectors after his death. The authors discuss the various functions of Rubens’s drawings as preparatory studies for paintings, sculpture, architecture, prints, and book illustrations. The volume also includes a sampling of the artist’s early anatomical studies and copies after antique sculpture as well as several sheets by other artists that Rubens retouched, restored, or reworked.

    His brilliant colors and energetic brushwork have a passionate appeal that touches nearly everyone. Few people, however, are familiar with van Gogh's drawings. "Van Gogh: Master Draughtsman" will bring the reader to a new world of this astonishing artist's imagination, a sensuous world of toned papers, vibrant lines of chalk and pen, veils of watercolor and pastel, and sparkling white highlights. Here we can truly see the artist at work, forming his first ideas, thinking them through, and bringing them to dazzling maturity. Created by the Van Gogh Museum in Amsterdam to accompany a traveling exhibition of the master's works on paper, this beautiful book will be an indispensable joy and resource for artists and art lovers everywhere. Lavishly illustrated with 163 plates in full color, the panoply of van Gogh drawings is presented here in full flower.

    He became a painter, draftsman, and lithographer whose work was immersed in famously hedonistic, fin-de-si�cle Paris. In his hands, advertising posters were raised to a high art; he portrayed the nightlife of Montmartre-circuses, caf�s, dance halls, and brothels-with clear, bold color and a certain seamy panache that is instantly recognizable as his. His much mythologized life has found its way into many biographies and into two feature-length movies called Moulin Rouge.Lavishly illustrated with 370 color plates, Toulouse-Lautrec and Montmartre is the first major work to present the artist's oeuvre in the context of Montmartre's lively art scene from roughly 1885 to 1901. Accompanying an exhibition of the same name at the National Gallery of Art and The Art Institute of Chicago, the book features the important paintings, drawings, prints, and posters Toulouse-Lautrec made on Montmartre subjects. It also includes masterpieces by contemporaries he inspired or who inspired him-Degas, Van Gogh, Picasso, and others-as well as rarely seen illustrations, lithographs, photographs, and ephemera of the era. And it discusses the artists, writers, actors, singers, and dancers who formed Toulouse-Lautrec's circle.The book's gracefully written essays by Richard Thomson, Phillip Dennis Cate, and Mary Weaver Chapin, with Florence E. Coman, address these themes in light of the rise of the color poster, the proliferation of new forms of entertainment, and the emergence of a celebrity-oriented popular culture. Toulouse-Lautrec and Montmartre evokes a colorful, chaotic era, and adds a new dimension to our understanding of the art of Toulouse-Lautrec.

    

    Found everywhere from wine labels and high-end bar accessories to major motion pictures (Teacher's Pet, the upcoming Pink Panther), the visibility of this dynamic work has rapidly increased in the last few years to worldwide recognition and acclaim. Weirdo Deluxe is the first significant manifesto of the genrea riotous blend of pop culture, street culture, pop art, and surrealismand includes profiles of and interviews with 23 leading artists and hundreds of outrageous examples of their work. Special features include an expansive timeline, and peeks at the artists' collections and influences. Weirdo Deluxe is at once a primer and lowbrow art sourcebook as well as a visual homage to pop culture.

    New York City landmarks were born in this age - the Chrysler Building, the Empire State Building, Rockefeller Center, and the Waldorf-Astoria - as well as dozens of lesser-known office buildings and apartment houses. Together, they make the skyline of New York what it is today.Richard Berenholtz's stunning photographs of the finest examples of New York City's art deco architecture are accompanied by text from writers, artists, and personalities of the era, including F. Scott Fitzgerald, Dorothy Parker, Edna St. Vincent Millay, Ogden Nash, and Frank Lloyd Wright, among others.

    Bringing together classic pieces by key thinkers--from Marshall McLuhan and Alain Corbin to Susan Stewart and Oliver Sacks--as well as newly commissioned articles, this path-breaking book provides a comprehensive overview of the "sensual revolution," where all manner of disciplines converge. Its aim is to enhance our understanding of the role of the senses in history and across cultures by overturning the hegemony of vision in contemporary theory and demonstrating that all senses play a role in mediating cultural experience. It asks provocative questions that most of us take for granted. Are there, for example, only five senses, or is this assumption a Western construct? This radical contribution to revisioning cultural studies will be essential reading for anyone hoping to understand the full complexity of how we experience our world.

    When crowned king of Bohemia in 1347, Charles vowed to make Prague the cultural rival of Paris and Rome. He rebuilt its castle and began a massive building campaign to glorify Saint Vitus’s Cathedral. In the ensuing century, Prague became not only an imperial but also an intellectual and artistic capital.In essays and detailed entries on some 240 artworks drawn from American and European collections, an esteemed group of scholars traces the birth of a distinctly Bohemian art in Prague in the mid-fourteenth century and its diffusion throughout Europe over the next hundred years. Panel paintings, goldsmiths’ work, sculpture, stained glass, and illuminated manuscripts bear witness to the wide-ranging achievements of the hundreds of artists who were active in Bohemian lands during this spectacular century. Not since they were created have these magnificent objects been accorded the attention that they deserve on an international stage.

    Considered the founder of "modern" pinstriping, he was a prominent character in many of the rodding magazines of the late '50s, and his fame endured long after he apparently tired of it. Besides being a striper, he was a gifted artist, machinist, and gun- and knifesmith. Using stories and quotes culled from interviews, vintage photos, and images of the art and other works he left behind, this book chronicles Kenneth Howard's life from pinstriping beatnik to bus-dwelling hermit. Where it can, this book sets the record straight on Von Dutch the man, but in many cases conflicting stories will serve to illustrate the contrary, colorful, and sometimes difficult nature of Von Dutch the legend. This book is a must-have for fans of hot rodding and hot rod culture!

    Retaining the intelligence and freshness of H.W. Janson's classic original work, this unsurpassed introductory survey on the history of Western art from the ancient through modern worlds is specifically written and designed to make art history accessible and enjoyable for students. Now with a new Art History CD-ROM containing nearly 400 images in a flash card format, and an exciting new design, the Sixth Edition enhances its narrative with in-margin coverage of historical/terminology notes, drawings, tables on historical events and personages, explanation of artistic processes, and boxes with history of music and theater topics.

    He first exhibited at the Royal Academy at the age of fourteen (one of his sketchbooks from this time is in the British Museum's collection). In 1824, he met William Blake whose influence helped confirm his visionary approach to art. Palmer retreated into rural isolation in the village of Shoreham, Kent, his own 'Valley of Vision'. Here he produced his most distinctive work, and gathered around him a group of artists (including Edward Calvert and George Richmond) known as 'the Ancients'. He married in 1837, and on his two-year honeymoon in Italy, his style turned to intensely coloured watercolours, with an obvious spiritual connection to his subjects. The striking watercolour A Cornfield by Moonlight with the Evening Star is one of his finest works from the Shoreham period and was acquired by the British Museum in 1985 after a public appeal. Samuel Palmer was active during the great flowering of British landscape painting in the first half of the nineteenth century. His work influenced many artists of the twentieth century, including Graham Sutherland and Eric Ravilious. audience to rediscover his beautiful, moving and popular works.

    That was the title of Sarah Lucas's last show in New York, in which the pun-prone artist assembled an array of sculptures constructed from cast concrete forms, tacky beige nylon stockings and random metal objects. These typically abject art pieces fit right into the body of work Lucas has been building since the early 1990s from apparently banal, everyday materials. Old, worn furniture, clothing, food, newspapers, cigarettes, cars, resin, plaster, neon lamps and light fixtures combine to form grungy assemblages whose appearance belies the serious and complex subject matter they address. Through the slyly anthropomorphic character of her sculptures, Lucas makes constant reference to the human body, questioning gender definitions and challenging male-dominated culture, especially that espoused by the sensationalist British press. She subverts sexual stereotypes in her appropriations of the tabloid vernacular and by making unexpected juxtapositions of objects, often employing visual wit and a defiant, bawdy humor. Her most iconic work, "Two Fried Eggs and a Kebab," which was included in the landmark Sensation exhibition in 1999, bears this out with a nasty wink: The title, which precisely describes the materials from which the piece was made, is slang for, well... just look it up. This extensive, large-format catalogue comprehensively tracks the career of one of the leading figures in an outstanding generation of British artists. Lucas, who first came to attention as a YBA (Young British Artist) in the 1990s, is here granted her first major exhibition survey. Included in this accompanying publication is documentation of key works, plus new work made especially for the Tate Liverpool. It is the most comprehensive publication on the artist to date.

    Because of its strength, beauty, and prestige, metal figured prominently in many medieval contexts, from the military and utilitarian to the architectural and liturgical. Metal was a crucial ingredient in weapons and waterpipes, rose windows and reliquaries, coinage and jewelry. The 23 essays presented here, from an international team of scholars, explore the production and use of such objects, from the early Middle Ages to the sixteenth century, and from the British Isles, Iceland, and Scandinavia, to France, Germany, Spain and Italy. This thematic, chronological, and geographical scope will make this volume into a valuable resource for historians of art, technology, and culture.

    This lavishly illustrated book—the only comprehensive study of the artist available—describes Church’s life and career and details the ways in which the artist played a part in America’s development during the nineteenth century. John K. Howat, a distinguished scholar of American landscape painting, discusses the many talents of Frederic Church while also explaining the rich complexities of his major works.One of Thomas Cole’s illustrious pupils at an early age, Church became a key figure associated with  the Hudson River School. His adventurous international travels and the paintings that resulted from his expeditions brought him far-reaching attention, and his pictures often commanded record-breaking sums. Church’s friendships and interests—religion, history, literature, music, architecture, agriculture, and science—as well as his skills as a crafty entrepreneur are explored. Beautiful reproductions of Church’s extraordinary home Olana, which one can visit today in eastern New York, are also featured.For admirers of the Hudson River School, American landscape painting, and the history of nineteenth-century America, Frederic Church is an invaluable book to own.

    However, leading designers around the world are increasingly drawn to it to satisfy social and environmental needs.Will Pryce is an award-winning photographer who trained as an architect and photojournalist. Intensely dramatic but not overdramatized, technically flawless but not merely documentary, his internationally acclaimed photographs convey all the excitement of encountering these amazing structures firsthand.He has traveled the world seeking the famous and the obscure. In the text he shows how the wooden heritage of Japan grew from its Buddhist history; how Russia’s carpenters determined its iconic domes; how Norway’s stave churches contain clues to her pagan past; how Turkic tribes brought the yali from Asia; how the settlers of New England employed a provincial English tradition on the new continent; and how, today, sophisticated architects such as Peter Zumthor and Renzo Piano are inventing an eloquent new wooden architecture.

    In this comprehensive analysis, James Smethurst examines the formation of the Black Arts Movement and demonstrates how it deeply influenced the production and reception of literature and art in the United States through its negotiations of the ideological climate of the Cold War, decolonization, and the civil rights movement. Taking a regional approach, Smethurst examines variations in the character of the local expressions of the nascent Black Arts Movement, a movement distinctive in its geographical reach and diversity, while always keeping the frame of the larger movement in view. The Black Arts Movement, he argues, fundamentally changed American attitudes about the relationship between popular culture and "high" art and dramatically transformed the landscape of public funding for the arts.

    Sophisticated in conception and execution and rich with symbolism, the totem poles, painted housefronts, masks, dance regalia, feast bowls, and elaborately decorated boxes made by the native people of the North Pacific Coast have long been recognized as masterworks of art. Here, in a series of community self-portraits, cultural figures from eleven Northwest Coast nations discuss the ways in which these masterpieces, as well as everyday tools and utensils from the museum's collections, connect them with their forbears, who made and used these beautiful objects. Kwakwaka'wakw Chief Robert Joseph and the community curators contrast the approach anthropologists and art historians have taken to the treasures of the Northwest with Native people's perspective on their cultural legacy. In addition, Mary Jane Lenz explores the Northwest as a crossroads of native and non-native worlds in the nineteenth and early twentieth centuries, when many of these works were collected, and today. With its striking images and community self-portraits, Listening to Our Ancestors invites readers to appreciate Northwest Coast art as its native inheritors do-for the spirit with which it is endowed. Official companion to the exhibition opening at the National Museum of the American Indian in November 2005.

     Now Alyce Mahon, the feisty Irish art historian, takes us on an imaginative and engaging tour of erotic art in all its forms, including painting, sculpture, video art, installation, performance art, and photography. Mahon explores eroticism from its most romantic to its most explicit: from Impressionist Paris where the naked body signaled the rise of a new, modern world, to the contemporary scene where artists use eroticism to address the politics of race, gender, and sexual orientation. The book examines some of the key movements and moments in modern art history: from the birth of Realism with Courbet in Paris, to the Surrealist subversion of taboo, to Nazi propaganda's use of the heroic nude, to the soft-porn of Pop art, to the vogue for carnality in contemporary art in Los Angeles, Paris, and London. Indeed, Mahon provides a concise history of art in the twentieth century through the lens of eroticism, offering original insights into works of art that do not sit easily within popular notions of taste and that have provoked controversy and calls for censorship. Her discussion includes the work of such European and American artists as Egon Schiele, Hans Bellmer, Robert Mapplethorpe, Nancy Goldin, Orlan, Franco B, and Annie Sprinkle. With over a hundred illustrations, including sixty-five in full color, here is a strikingly written and stimulating history of eroticism in modern Western art.

    'Hollywood at Home' presents the best from a series of articles that have appeared in 'Architectural Digest' featuring the homes of Hollywood movie stars and directors dating back to the 1930s, from Jean Harlow and Clark Gable to Steven Spielberg and Diane Keaton.

    You'll also find materials that will help you master the key topics quickly and help you study for your exams--for example, "The Big Picture" overviews at the end of every chapter, a special global timeline, and ArtStudy Online (a free interactive study guide that includes flash cards of images and quizzes).

    A Zen master of the Rinzai school, he was also one of the most illustrious artists Japan has ever produced, known throughout the world for his calligraphies and paintings. Sengai went through years of hard monastery training before being elected abbot of Shofukuji, Japan's oldest Zen temple. Calligraphy and drawing became his primary modes of teaching and expression. Here are one hundred twenty-eight black-and-white reproductions of his work, selected and explained by the Zen scholar D. T. Suzuki. The commentary explains each piece of art, its context, and the Zen teaching it exemplifies. First appearing posthumously in 1971 (New York Graphic Society edition), Sengai is Dr. Suzuki's last published book—and it is said that he considered it to be the culmination of his work.

    Garrard that challenge art history from a feminist perspective. Following their Feminism and Art History: Questioning the Litany (1982) and The Expanding Discourse: Feminism and Art History (1992), this new volume identifies female agency as a central theme of recent feminist scholarship. Framed by a lucid and stimulating critical introduction, twenty-three essays on artists and issues from the Renaissance to the present, written in the 1990s and after, offer a nuanced critique of the poststructuralist premises of 1980s feminist art history. Contributors: Allison Arieff, Janis Bergman-Carton, Babette Bohn, Norma Broude, Anna C. Chave, Julie Cole, Bridget Elliott, Mary D. Garrard, Sheila ffolliott, Darcy Grimaldo Grigsby, Ruth E. Iskin, Geraldline A. Johnson, Amelia Jones, Maud Lavin, Julie Nicoletta, Carol Ockman, Erica Rand, John B. Ravenal, Lisa Saltzman, Mary D. Sheriff

    If you are moved only by their colour relationships, then you miss the point. Throughout his career, Rothko was concerned with what other people experienced when they looked at his canvases. As his work shifted from figurative imagery to luminous fields of colour, his concern expanded to the setting in which his paintings were exhibited.

    This book is the first to explore the full range of the artist’s English body of work as well as the relation of this work to the visual and material culture of Tudor England. Providing a detailed account of the paintings, drawings, and woodcuts that Holbein produced in England, the book demonstrates convincingly that that country was not as remote from a common European culture as is often assumed. Rather, it was an unmistakable part of that culture.Susan Foister discusses not only Holbein's well-known portraits but also his decorative paintings and murals, now lost, his designs for goldsmiths, and the works that can be associated with the English Reformation. In addition, she considers Holbein's religious and secular images, his techniques and practices, his status as an official court painter, and a variety of other intriguing topics.

    Yet just what cubism was, or stood for, at the time of its emergence is still in dispute, while the explanations offered for its importance for twentieth century art, and its legacy for the present, are bewildering in their variety.This fascinating book offers a way beyond this confusion: a narrative of its beginnings, consolidation and dissemination that takes into account not only what the style and the movement signified at the time of its emergence but also the principal writings through which cubism's significance for modernism has been established. Visually stunning with over 100 illustrations, this is an essential work for all students and teachers of modern art history.

    Taken together, these case studies on artists and concepts present Dada as a coherent movement with a set of operating principles. Among the " tactics" elaborated are the hyperbolic mimicry of dominant social and linguistic conventions, the performance of gender and other aspects of identity, the usurpation of the modes of a new media culture and the marketplace, and the recycling of history and memory in a world traumatized by war. The Dada Seminars developed out of a series held by the Center for Advanced Study in the Visual Arts at the National Gallery of Art, in advance of 2005's major traveling exhibition on international Dada. Contributors include George Baker, T.J. Demos, Leah Dickerman, Uwe Fleckner, Hal Foster, Amelia Jones, David Joselit, Marcella Lista, Helen Molesworth, Arnauld Pierre, Jeffrey T. Schnapp and Matthew S. Witkovsky.

    "Emblematic Monsters" is a social history of monstrous births as seen through popular print, scholarly books and the proceedings of learned societies. Representations of monsters are considered in the context of their roles as wonders and emblems, and studies of the anatomy of monsters are discussed along with contemporary theories of their origin. By approaching accounts of monstrous births not only as a literary form but also as descriptions of real-life cases, similarities between the pre-scientific recording of wonders and the scientific case report can be explored. Most impressively, A.W. Bates draws upon his own experience of diagnosis of birth defects to summarise more than two hundred original descriptions of monstrous births and compare them with modern diagnostic categories. "Emblematic Monsters" is an up-to-date approach to a classical yet under-explored subject: gruesome, compelling and monstrous.

    This exhibition, co-organized by the San Francisco Museum of Modern Art and the Walker Art Center in Minneapolis, explores the artist's work in self-portraiture over four decades and across a variety of media, including painting, drawing, photography, collage, and printmaking. The first comprehensive museum survey of Close's self-portraits, the exhibition and its accompanying publication offer a fascinating glimpse of an artist's self-examination and evolution over time and elucidate his unbounded, process-driven experimentation with media and techniques. Working with the seemingly narrow subject of his own face, Close has produced a richly varied trove that ranges from intimately scaled collage maquettes and fingerprint drawings to monumental gridded canvases; from the sharp definition of certain photographic techniques to the ghostly blurs of daguerreotypes and holograms; from the tactile complexity of paper pulp editions to the smooth, mechanical surfaces of Polaroids and digital ink-jet prints; from the subtle tonalities of gray-scale paintings and drawings to the exuberance of an 111-color screenprint. When Close unleashes his imagination on his own visage, this familiar figure is at his most revealing.

    Organized by the Sterling and Francine Clark Art Institute and the J. Paul Getty Museum, this exhibition of 27 paintings and 29 drawings is also the first to examine the transformation of David’s art during the post-Revolutionary period (1800–1825). Each of the works, many of which were previously unknown or inaccessible, is reproduced in color and accompanied by an entry with complete scholarly information.Art historian Philippe Bordes establishes David’s position after the Terror and discusses the artist’s admiration for Napoleon Bonaparte, for whom he served as court painter. The book also investigates David’s new approach to antiquity in historical compositions and the avowed influence of the Flemish School on his practice. Drawing on many new documents and close analysis of the works featured in the book, Bordes offers a revised understanding of this deeply reactive artist and the creative output of his second career.

    Mann, Introduction; R. Ward Bissell, Re-thinking Early Artemisia; Patrizia Cavazzini, The Other Women in Agostino Tassi's Life; Judith W. Mann, The Myth of Artemisia as Chameleon: A new Look at the London Allegory of Painting; Riccardo Lattuada and Eduardo Nappi, New Documents and Some Remarks on Artemisia's Production in Naples and elsewhere; Mary D. Garrard, Artemisia's Hand; Elizabeth Cohen, 'What's in a Name?...'; Ann Sutherland Harris, Artemisia and Orazio: Drawing Conclusions; Richard Spear, Money Matters; Alexandra Lapierre, Artemisia: Art, Facts and Fictions. Judith W.Mann is curator of early European art, Saint Louis Art Museum (SLAM), St. Louis, Missouri.

    Paintings and manuscripts dating from approximately 1300 to 1900 are reproduced with full-page, full-color illustrations, each with a catalogue entry that brings to life the content and context of the picture. The lucid three-part introduction discusses aspects of the unique culture in which patrons and painters worked together to create some of the finest paintings ever to emerge from India.Major artistic movements are discussed, as are rare and little-known passages in the history of Indian painting, amply supplemented with translations of inscriptions and excerpts from primary sources. This book serves as an accessible introduction for non-specialists as well as a useful reference for scholars and students.

    Henri encouraged an art that was expressive of personal emotions and experience and that was grounded in life. He preached equality among different media and approaches to art. Giving heed to his teachings, his women students engaged in a wide variety of artistic production. Collectively, the stunning variety and power of their work in painting, sculpture, printmaking, textiles, decorative arts, and furniture broadens our understanding of American modernism and illuminates the role of women artists in shaping it. Yet, these women have remained largely unstudied, and virtually unknown, even among art historians.The seven new essays included in this volume move beyond the famed Ashcan School-the small group of Henri's male students who worked in a narrow range of urban realist subjects-to recover the lesser known work of his women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era; how gender controlled their art, productivity, sales, and reception; how their many styles, media, and subjects enrich our understanding of modern American art; and how the work of modern women artists relates to women's involvement in other areas of modern American society and culture, including labor and social reform, patronage, literature, dance, and music.Lavishly illustrated and complemented by short biographies of more than 400 of Henri's students, this delightful collection adds a long-ignored but deserving dimension to an expanded story of American modernism and to women's contributions to the arts.

    Our things in our hands must be equals, comrades, wrote Aleksandr Rodchenko in 1925. Kiaer analyzes this Constructivist counterproposal to capitalism's commodity fetish by examining objects produced by Constructivist artists between 1923 and 1925: Vladimir Tatlin's prototype designs for pots and pans and other everyday objects, Liubov' Popova's and Varvara Stepanova's fashion designs and textiles, Rodchenko's packaging and advertisements for state-owned businesses (made in collaboration with revolutionary poet Vladimir Mayakovsky), and Rodchenko's famous design for the interior of a workers' club. These artists, heeding the call of Constructivist manifestos to abandon the nonobjective painting and sculpture of the early Russian avant-garde and enter into Soviet industrial production, aimed to work as artist-engineers to produce useful objects for everyday life in the new socialist collective.Kiaer shows how these artists elaborated on the theory of the socialist object-as-comrade in the practice of their art. They broke with the traditional model of the autonomous avant-garde, Kiaer argues, in order to participate more fully in the political project of the Soviet state. She analyzes Constructivism's attempt to develop modernist forms to forge a new comradely relationship between human subjects and the mass-produced objects of modernity; Constructivists could imagine no possessions (as John Lennon's song puts it) not by eliminating material objects but by eliminating the possessive relation to them. Considering such Constructivist objects as flapper dresses and cookie advertisements, Kiaer creates a dialogue between the more famous avant-garde works of these artists and their quirkier, less appreciated utilitarian objects. Working in the still semicapitalist Russia of the New Economic Policy, these artists were imagining, by creating their comradely objects, a socialist culture that had not yet arrived.

    In 48 beautifully illustrated lectures you will encounter all the landmarks you would expect to find in a comprehensive survey of Western art since the Middle Ages. Works such as Giotto's Arena Chapel, Van Eyck's Ghent Altarpiece, Leonardo's The Last Supper, Michelangelo's David, Vermeer's View of Delft, Van Gogh's The Starry Night, Picasso's Guernica, and hundreds more.You will also find works that are completely new to you. Plus you'll be introduced to lesser-known artists—perhaps names you've heard but never connected to specific works—and you'll understand why they deserve to be classed among the great masters.

    This notable series of 38 frescoes illustrate the life of Jesus Christ and the Virgin Mary and show Giotto's uncompromising rigor, realism and inspired imagination. In this exquisite, magnificently illustrated volume, Claudio Bellinati's texts help the reader to discover the literal, poetic and artistic significance of every scene. The elegant layout accompanies each fresco with the passage from the Gospels or Apocrypha to which it refers, and an iconographic reading. For the first time, there is a complete analysis of Giotto's magnificent narrative. Three small mirrors still decorate the halo of Christ in Judgment today. When the morning light came from the east and sun's rays, shining through the glass window fell on Christ's halo a new splendor spread through the chapel, imbuing the scene with solemnity, centrality and beauty. It was then that the mysterium Mariae

    Superb reproductions of more than 100 masterpieces from 5 centuries are included — from works by Fra Angelico, Hieronymus Bosch, and Albrecht Dürer to Thomas Gainsborough, Winslow Homer, and Edward Hopper.

    Priceless antiquities, spanning ten thousand years of human history, were smashed into pieces or stolen, and one of the most important storehouses of ancient culture was forever compromised. This exquisitely illustrated volume is a reconstruction in book form of one of the world's great museums, and it stands as the definitive single-volume history of the art and archaeology of ancient Mesopotamia, the cradle of civilization. The contributors to this book consist of a cadre of international archaeologists whose excavations helped piece together the rich tapestry of Mesopotamian life from earliest prehistory to the advent of Islam. A portion of the book's royalties will aid in the reconstruction of the museum and in the preservation of Mesopotamia's cultural treasures. Told through the art and artifacts that were lost recently in Iraq, this fascinating history of the civilizations of the Near East is sure to be a timeless and enduring book.

    Ranging from the Communist Manifesto to the manifestos of the 1960s and beyond, it highlights the varied alliances and rivalries between socialism and repeated waves of avant-garde art. Martin Puchner argues that the manifesto--what Marx called the "poetry" of the revolution--was the genre through which modern culture articulated its revolutionary ambitions and desires. When it intruded into the sphere of art, the manifesto created an art in its own image: shrill and aggressive, political and polemical. The result was "manifesto art"--combinations of manifesto and art that fundamentally transformed the artistic landscape of the twentieth century.Central to modern politics and art, the manifesto also measures the geography of modernity. The translations, editions, and adaptations of such texts as the Communist Manifesto and the Futurist Manifesto registered and advanced the spread of revolutionary modernity and of avant-garde movements across Europe and to the Americas. The rapid diffusion of these manifestos was made "possible by networks--such as the successive socialist internationals and international avant-garde movements--that connected Santiago and Zurich, Moscow and New York, London and Mexico City. Poetry of the Revolution thus provides the point of departure for a truly global analysis of modernism and modernity.

    Hence its importance in the field of codicology. It is also a resource and tool for researchers in the sciences of manuscripts, cataloguing and manuscript editing.The chapters discuss the makeup of manuscripts, such as the material they are made of: papyrus, parchment, paper, manuscript notebooks, the materials used for writing (pens, inks, colours and paint), the dimensions of the notebooks, their organisation, page layout, presentation, embellishments and their tidying in addition to their binding. The study also looked at the dating of copies and the history of the collections of manuscripts.The book gives a list of terms and academic jargon in addition to the meanings of the terms used in the field of manuscripts (French –English – Arabic).

    Through their means of production and the evidence of their utility, prints are explored in a broad social and economic context. Key topics include the complex problem of reconstructing the beginnings of the European woodcut; the practice of copying and dissemination of models endemic to the medium; and the varied functions of the print from the spiritual to the secular. A team of expert authors examines the many ways in which fifteenth-century woodcuts and  metalcuts reflect the nature of piety and visual experience. Replicated images helped to structure private religious practice, transmit beliefs, disseminate knowledge about material facts, and graph abstract ideas. Mass-produced pictures made it feasible for people of all stations to possess them, thereby initiating a change in the role of images that eventually helped alter the definition of art itself.The Origins of European Printmaking is an essential book for art historians, students, and collectors, as well as the general reader with an interest in medieval history and culture.

    Visual recreation of the ancient city of Persepolis, as it was 2500 years ago.

    While Vertov's uncompromising writings and his experimental features, such as Man with a Movie Camera, are known and discussed in the West, less is known about the other films he made in the 1920s, and still less about the response they provoked in the Soviet Union and abroad. Vertov liked to call his films and his essays "bombs"--and indeed the public reaction to them was nothing short of explosive. This book follows the development of his work and opinions from 1917 to 1930, and chronicles contemporary reactions to them, including such prominent personalities as fellow directors Lev Kuleshov and Sergei Eisenstein, artists Aleksandr Rodchenko and Kazimir Malevich, and theorists Walter Benjamin and Siegfried Kracauer.Distributed for Le Giornate del Cinema Muto

    

    In this well-researched volume, Andreas Andreopoulos discusses in detail every philosophical and ritual application of the Transfiguration icon - the mountain, the cloud, the mandorla, the positioning of the apostles, the Old Testament prophets, and the image of Christ himself - taking the reader through an illustrated historical journey. The author simplifies the complex relationship between the dogma of the church fathers and Byzantine art and makes it understandable to a non-specialist audience. Nevertheless, theologians, historians, and art historians alike will appreciate the interdisciplinary value of this clearly presented documentation. Andreopoulos's expert use of patristic texts and Jewish sources, as well as the New Testament and apocryphal writings and pagan sources, elucidates the development of art and doctrine that surround this scriptural epiphany.

    For this compact, enhanced reprint, we have been fortunate enough to obtain the use of a very rare original copy: the exquisite, limited edition, hand-colored volume that was first owned by Princess Elizabeth, daughter of George III. Each chapter of our publication focuses on one family of fruit and is accompanied by a contemporary text giving nutritional information about the fruits as well as cultural and historical analyses. Lovingly drawn on charcoal backgrounds, the mouth-watering cherries, apples, figs, and other divine fruits seem to jump right off the page.

    

    This guide does not aim to cover absolutely everything, but to provide a comprehensive overview with a selection of nearly 600 masterpieces from Antiquity to the mid-19th century.

    Possessed of enormous talent and ambition, these two artists -- one trained as a sculptor, the other as a stonecutter -- met as contemporaries in the building yards of St. Peter's in Rome and ended their lives as bitter enemies. Over the course of their careers they became the most celebrated architects of their era, designing some of the most beautiful buildings in the world and transforming the city of Rome.The Genius in the Design is an extraordinary tale of how these two men plotted, schemed, and intrigued to get the better of each other. Full of dramatic tension and great insight into personalities, acclaimed writer Jake Morrissey's engrossing and impeccably researched account also shows that this legendary rivalry defined the Baroque style that immediately succeeded the Renaissance and created the spectacular Roman cityscape of today.Almost exactly the same age -- Bernini was born at the end of 1598, Borromini nine months later -- they were as alike and as different as any two men could be, each a potent combination of passion and enterprise, energy and imperfection. Bernini was a precocious talent who as a youth caught the attention of Pope Paul V and became Rome's most celebrated artist, whose patrons included the wealthiest families in Europe. The city's greatest sculptor -- the creator of such masterpieces as Apollo and Daphne and the Ecstasy of St. Teresa -- Bernini would also have been Rome's preeminent architect had it not been for Francesco Borromini, the one man whose talent and virtuosity rivaled his own. In contrast to Bernini's easy grace, Borromini was an introvert with a fiery temper who bristled when anyone interfered with his vision; his temperament alienated him from prospective patrons and precipitated his tragic end.Like Mozart and Salieri, these two masters were inextricably linked, their dazzling work prodding the other to greater achievement while taking merciless advantage of each other's missteps. The Genius in the Design is their story, a fascinating narrative of beauty and tragedy marked at turns by personal animosity and astonishing artistic achievement.

    It is specifically designed for the one-semester survey. The second edition adds to this heritage with new images and new full-color reconstructions, as well as a unique "scale" feature that helps students visualize the size of each work.

    This book charts the intricate web of influences that shaped the generation of experimental and outsider artists working in Downtown New York during the crucial decade from 1974 to 1984. Published in conjunction with the first major exhibition of downtown art (organized by New York University's Grey Art Gallery and Fales Library), The Downtown Book brings the Downtown art scene to life, exploring everything from Punk rock to performance art.The book probes trends that arose in the 1970s and solidified New York's reputation as arbiter of the postmodern American avant-garde. By 1974, the hippie euphoria of the previous decade, with its optimism, free love, and paeans to personal fulfillment, was over. In its place emerged a new kind of experimentation--in art, sex, drugs, and rock and roll. The seven essays featured here examine from different perspectives how Downtown artists constantly pushed the limits of both traditional media and the art world. Art critic Carlo McCormick addresses the energy, power, drugs, and nonstop erotic motion that propelled the scene. Music historian Bernard Gendron explores how minimalism, loft jazz, and Punk all occupied the same Downtown spaces. RoseLee Goldberg, the noted scholar and critic of performance art, looks back at ten years of its ascendancy Downtown. English professor Robert Siegle casts a critical eye on the literature of the Downtown scene. Librarian and archivist Marvin J. Taylor surveys Downtown as both geography and metaphor, and grapples with the question of how best to organize and preserve materials that often challenge the very notion of the archive. The book also includes seminal essays on the critical theories underlying Downtown art, by Brian Wallis; and on Downtown film, by Matthew Yokobosky.The essays are intercut with personal reminiscences by such renowned pioneers of the Downtown scene as Eric Bogosian, Richard Hell, Lydia Lunch, Ann Magnuson, Michael Musto, and Martha Wilson. More than 150 striking photographs feature Downtown denizens and galleries; works by Cindy Sherman, Keith Haring, and many other artists; and hotspots such as CBGBs and Club 57. Hip and provocative, The Downtown Book provides a rare glimpse into the cauldron of the New York artistic counterculture--and the colorful characters who inhabited it. EXHIBITION SCHEDULE: ? Grey Art Gallery and the Fales LibraryNew York UniversityJanuary 10 - April 1, 2006 The Andy Warhol MuseumPittsburgh, PennsylvaniaMid-May to September 4, 2006 Austin Museum of ArtAustin, TexasNovember 11, 2006 - January 28, 2007 (tentative dates)