Comes with an enclosed, supportive DVD-ROM The Louvre is the world's most visited art museum, with 8.5 million visitors annually, and houses the most celebrated and important paintings of all time. For the first time ever, The Louvre: All the Paintings collects all 2,981 paintings currently on display in the permanent collection in one beautifully curated volume. Organized and divided into the four main painting collections of the museum— the Italian School, the Northern School, the Spanish School, and the French School— the paintings are then presented chronologically by the artist's date of birth.Four hundred of the most iconic and significant paintings are illuminated with 300-word discussions by art historians Anja Grebe and Vincent Pomarède on the key attributes of the work, what to look for when viewing the painting, the artist's inspirations and techniques, biographical information on the artist, the artist's impact on the history of art, and more. All 2,981 paintings are fully annotated with the name of the painting and artist, the date of the work, the birth and death dates of the artist, the medium that was used, the size of the painting, the Louvre catalog number, and the room in the Louvre in which the painting is found. The DVD-ROM is easily browsable by artist, date, school, art historical genre, or location in the Louvre. This last feature allows readers to tour the Louvre and its contents room by room, as if they were actually walking through the building.

    Working with the full cooperation of the Van Gogh Museum in Amsterdam, Naifeh and Smith have accessed a wealth of previously untapped materials to bring a crucial understanding to the larger-than-life mythology of this great artist: his early struggles to find his place in the world; his intense relationship with his brother Theo; and his move to Provence, where he painted some of the best-loved works in Western art. The authors also shed new light on many unexplored aspects of Van Gogh’s inner world: his erratic and tumultuous romantic life; his bouts of depression and mental illness; and the cloudy circumstances surrounding his death at the age of thirty-seven.   Though countless books have been written about Van Gogh, no serious, ambitious examination of his life has been attempted in more than seventy years. Naifeh and Smith have re-created Van Gogh’s life with an astounding vividness and psychological acuity that bring a completely new and sympathetic understanding to this unique artistic genius.

    The worlds of Milan and Rome through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and prostitutes, prayer and violence. Graham-Dixon puts the murder of a pimp, Ranuccio Tomassoni, at the centre of his story. It occurred at the height of Caravaggio’s fame in Rome and probably brought about his flight through Malta and Sicily, which led to his death in suspicious circumstances off the coast of Naples. Graham-Dixon shows how Caravaggio’s paintings emerged from this extraordinarily wild and troubled life: his detailed readings of them explain their originality and Caravaggio’s mentality better than any of his predecessors.

    The angels on our Christmas cards, the stained glass in our churches, the great paintings in our galleries - Edward Burne-Jones's work is all around us. The most admired British artist of his generation, he was a leading figure with Oscar Wilde in the aesthetic movement of the 1880s, inventing what became a widespread 'Burne-Jones look'. The bridge between Victorian and modern art, he influenced not just his immediate circle but artists such as Klimt and Picasso. In this gripping book Fiona MacCarthy explores and re-evaluates his art and life - his battle against vicious public hostility, the romantic susceptibility to female beauty that would inspire his art and ruin his marriage, his ill health and depressive sensibility, the devastating rift with his great friend and collaborator William Morris as their views on art and politics diverged. With new research and fresh historical perspective, The Last Pre-Raphaelite tells the extraordinary, dramatic story of Burne-Jones as an artist, a key figure in Victorian society and a peculiarly captivating man.

    It was to be an age of post-Impressionistic color, form and wonderment that the art world discovered only after the master's death. Bouts of anxiety, mental illness and epilepsy may have tormented him and brought about his suicide at the age of 37. But they may also have been catalysts for emotionality and vibrance in his art that reveal a turbulent search for grace.The compilation of Vincent Van Gogh's 500 finest color paintings in this online volume comes to you in a digitally restored state: the eye-popping brilliance and vitality are just as on the day Van Gogh finished them. Unless noted otherwise, all of them were originally oil paintings on canvas or wood (the few exceptions are watercolors). The arrangement is by genre (see the list below) and is chronological within each genre section. There are a few duplicates, that is, some paintings from one genre are also shown within the scope of another genre in order to emphasize their "dual nature." This is especially true for the images in "Skyscapes," many of which are reprised from "Landscapes" or other relevant genres to afford you, the viewer, with a fresh perspective on a different aspect of the composition.Technical Note: All 500 images are in color -- they render beautifully in optimized gray-scale tones for black-and-white e-book readers, but exhibit even more stunningly in full color with color readers and inside Kindle apps for color-enabled computers and portable or hand-held devices.The masterpieces are organized into the following genres (with the tally of images in each):PORTRAITS (24)SELF-PORTRAITS (18)CHARACTER AND ACTION STUDIES (31)LABORERS (37)TOWNSCAPES: FROM A DISTANCE (17)TOWNSCAPES: FROM INSIDE THE TOWN (30)BUILDINGS: FROM AN EXTERIOR PERSPECTIVE (35)BUILDINGS: INTERIOR DESIGN (17)BIRDS (2)ANIMALS (7)FLOWERS AND GARDENS: LIVING AND GROWING (20)FLOWERS: FLORAL ARRANGEMENTS (29)STILL LIFE (45)TREES (50)LANDSCAPES (50)WATERSCAPES: THE SEA (6)WATERSCAPES: RIVERS, CANALS AND BRIDGES (23)SKYSCAPES (38)NIGHTSCAPES: AT SUNSET (14)NIGHTSCAPES: BY MOONLIGHT (3)NIGHTSCAPES: STARRY NIGHTS (5)NIGHTSCAPES: AT SUNRISE (1)

    The unique structure of the book has been created by specialists in all fields of art, from institutions worldwide, who have collected together important and innovative works as they might be displayed in the ideal museum for the art lover.As any great museum the book is divided into galleries, presenting the extraordinary variety of artistic output, from ancient Greece, to Australasia and Oceania, Byzantine art to that of the Pre-Columbian Americas, the Renaissance to twentieth-century art, with an emphasis on later western art. Rooms examine important aspects and movements within the gallery. Corridors between the rooms allow the reader to focus on seminal works of each period and culture, with the huge reproduction format allowing for detailed examination.The rooms present the finest examples of human creativity, each piece labelled with key data (including dates, medium and dimensions) alongside a brief description, and the group of works explained by a curator. Painting, sculpture, metalwork, textiles and ceramics comprise the wide variety offered to the reader, as individual works are all contextualised with expert contributors detailing the works’ significance to the evolution of art history. With cross-references throughout, a comprehensive glossary and detailed location maps, The Art Museum is both fantastic to browse through and an indispensable guide to art throughout the ages.

    The difference is that it is a civilisation of one. The territory it springs from is my imagination...The relationship between my personal themes and obsessions and the vastness of world culture as represented in the British Museum is like a narrow pilgrimage trail across an infinite plain. Grayson Perry's centrepiece to this fascinating journey is a major artwork: a metal tomb in the form of a ship, encrusted with reliefs and artistic cargo based on, or actually cast from, objects in the collection of the British Museum. The occupant sails into the afterlife surrounded by the talismans of many faiths and people. This is a memorial to all the anonymous craftsmen that over the centuries have fashioned the man-made wonders of the world, many of which are on display in the Museum. Around the tomb, the other artworks - ceramics, tiles, cast metal sculpture, textiles and prints - are laid out in ritualistic symmetry as if they once belonged somewhere else. Alongside his own works, Grayson Perry presents a personal selection of objects from the British Museum that are the inspiration for his pieces or connected strongly with them thematically or aesthetically. Including an introduction by Grayson Perry and lavishly illustrated, this book takes us to the fantasy world of a contemporary artist who never fails to challenge and unsettle his audience.

    The monetary value is estimated at over half a billion dollars. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and frank interviews, Felch and Frammolino give us a fly-on-the-wall account of the inner workings of a world-class museum and tell the story of the Getty’s dealings in the illegal antiquities trade. The outlandish characters and bad behavior could come straight from the pages of a thriller—the wealthy recluse founder, the cagey Italian art investigator, the playboy curator, the narcissist CEO—but their chilling effects on the rest of the art world have been all too real, as the authors show in novelistic detail. Fast-paced and compelling, Chasing Aphrodite exposes the layer of dirt beneath the polished façade of the museum business.

    Between 1915, when they first began to write to each other, and 1946, when Stieglitz died, O'Keeffe and Stieglitz exchanged over 5,000 letters (more than 25,000 pages) that describe their daily lives in profoundly rich detail. This long-awaited volume features some 650 letters, carefully selected and annotated by leading photography scholar Sarah Greenough.In O'Keeffe's sparse and vibrant style and Stieglitz's fervent and lyrical manner, the letters describe how they met and fell in love in the 1910s; how they carved out a life together in the 1920s; how their relationship nearly collapsed during the early years of the Depression; and how it was reconstructed in the late 1930s and early 1940s. At the same time, the correspondence reveals the creative evolution of their art and ideas; their friendships with many of the most influential figures in early American modernism (Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and Paul Strand, to name a few); and their relationships and conversations with an exceptionally wide range of key figures in American and European art and culture (including Duncan Phillips, Diego Rivera, D. H. Lawrence, Frank Lloyd Wright, and Marcel Duchamp). Furthermore, their often poignant prose reveals insights into the impact of larger cultural forces—World Wars I and II; the booming economy of the 1920s; and the Depression of the 1930s—on two articulate, creative individuals.

    As he traversed the worlds of abstract expressionism and figurative painting, Diebenkorn became one of America's most beloved postwar artists. The Ocean Park series, begun in 1967and comprising works in a variety of media, is arguably the most celebrated of his illustrious career. This book features beautifully reproduced works that radiate with color, allowing readers to appreciate the artist's evolving palette as well as his brilliant geometric explorations. The paintings, prints, drawings, and collages that make up the series are examined from diverse perspectives in essays that bring to light new influences and conceptual frameworks that reposition the Ocean Park series, as well as the artist's role in the history of postwar art. The result is a timely re-examination of a major body of work that will excite the numerous fans of this quintessential California artist.

    By the time he was ten years old he knew he wanted to be an artist, and after leaving school he went on to study at Bradford Art College and later at the Royal College of Art in London. Bursting onto the scene at the Young Contemporaries exhibition, Hockney was quickly heralded as the golden boy of postwar British art and a leading proponent of pop art. It was during the swinging 60s in London that he befriended many of the seminal cultural figures of the generation and throughout these years Hockney's career grew. Always absorbed in his work, he drew, painted and etched for long hours each day, but it was a scholarship that led him to California, where he painted his iconic series of swimming pools. Since then, the most prestigious galleries across the world have devoted countless shows to his extraordinary work.In the seventies he expanded his range of projects, including set and costume design for operas and experiments with photography, lithography, and even photocopying. Most recently he has been at the forefront the art world's digital revolution, producing incredible sketches on his iPhone and iPad, and it is this progressive thinking which has highlighted his genius, vigor and versatility as an artist approaching his 75th birthday.In this, the first volume of Hockney’s biography, detailing his life and work from 1937 - 1975, Sykes explores the fascinating world of the beloved and controversial artist whose career has spanned and epitomized the art movements of the last five decades."The timing couldn't be better for this enjoyable and well-sourced book, which — like Hockney's own work — is both conversational and perceptive." —Los Angeles Times"To read Christopher Simon Sykes' David Hockney is to marvel at the artistic gifts of the eccentric Yorkshireman who rose from a sometimes pinched childhood to hobnob with poet Stephen Spender and novelist Christopher Isherwood, to party with Mick Jagger and Manolo Blahnik." —The Plain Dealer"Prodigiously entertaining." —Financial Times“A chatty, knowledgeable, insider's biography, full of anecdotes.” —The Guardian

    For this great artist it is unusually difficult to separate his life from his work. These letters reveal his inner turmoil and strength of character, and provide an extraordinary insight into the intensity and creativity of his artistic life.

    Artists' manifestos are nothing if not revolutionary. They are outlandish, outrageous, and frequently offensive. They combine wit, wisdom, and world-shaking demands. This collection gathers together an international array of artists of every stripe, including Kandinsky, Mayakovsky, Rodchenko, Le Corbusier, Picabia, Dali, Oldenburg, Vertov, Baselitz, Kitaj, Murakami, Gilbert and George, together with their allies and collaborators - such figures as Marinetti, Apollinaire, Breton, Trotsky, Guy Debord and Rem Koolhaas. This title is edited with an Introduction by Alex Danchev.

    At the dawn of the twentieth century, California became home to artists from all over America and Europe who aspired to depict the state’s awe-inspiring natural landscapes on canvas. In 1909, these artists founded the California Art Club, which stands today as one of the most esteemed painting societies in the United States. The club has achieved distinction for its commitment to plein air painting, an Impressionistic style in which painters work outdoors in order to capture the ephemeral moment when the natural lighting of a landscape elevates an already beautiful scene into something sublime. Celebrating a century of unique artwork, this volume presents impeccable images of the art club’s masterworks, including unforgettable paintings of California’s stunning and varied beauty—desert vistas, plunging coastlines, verdant vineyards, charming towns, and snow-topped mountains.

    The British supermarket was developing its distinctive range of "own label" products, and Dixon's designs for the line catapulted Sainsbury's to the graphic forefront: simple, stripped down, creative, and completely different from what had gone before. The striking modernity of the new Sainsbury's look pushed the boundaries of high-street graphic design, reflecting a period full of postwar optimism. It also helped build Sainsbury's into a brand giant, the first real British "super" market of the time. Produced in collaboration with the Sainsbury family and the Sainsbury Archive in London, Own Label examines and celebrates this paradigm shift that redefined packaging design. An essential book for graphic designers and those interested in cultural nostalgia from the 1960s and 1970s, Own Label offers a unique historical insight into how the foods we ate were packaged for our consumption.

    Each time she underwent treatment, her husband Ronald produced a Mrs Mole drawing 'to cheer every dreaded chemotherapy session and evoke the blissful future ahead'. This book features 47 of these drawings.

    Exquisitely designed and produced, Patti Smith: Camera Solo accompanies the first museum exhibition of the artist's photography in the United States.Using either a vintage Land 100 or a Land 250 Polaroid camera, Smith photographs subjects inspired by her connections to poetry and literature as well as pictures that honor the personal effects of those she admires or loves. In the catalogue's interview, conducted by Susan Lubowsky Talbott, the artist talks about her "respect for the inanimate object" as well as the talismanic qualities of things in her life. We see, for instance, a picture of Mapplethorpe's slippers or a porcelain cup that belonged to her father, and are drawn into their intimacy and quiet power. Moreover, these images reveal how the camera has proven to be a means for Smith to retreat—undisturbed—to "a room of my own."From her explorations as a visual artist in the 1960s and 70s and her profound influence on the nascent punk rock scene in the late 1970s and 80s, to Just Kids, her National Book Award-winning memoir of life with her beloved friend Robert Mapplethorpe, Smith continues to make an indelible mark on the American cultural landscape.

    Although illustrated copies of the poem were commissioned by numerous Iranian kings, the Shahnama of Shah Tahmasp (r. 1524-1576) is arguably the most important and beautifully illustrated version ever produced. It was created by two generations of the most renowned early-16th-century artists at the royal atelier in Tabriz, the first capital of the Safavid dynasty. Characterized by calligraphy, painting, and illuminations of exquisite quality and artistic originality, the volume is considered one of the highest achievements in the arts of the book. After its creation, the Shahnama of Shah Tahmasp traveled through several royal collections until it was broken up and dispersed in the 20th century. Now, for the first time, all 258 illuminated pages of this famous volume are reproduced in color and close to their original size in this sumptuous publication.

    Casting modernity as an ongoing contest between visuality and countervisuality, or “the right to look,” he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-century concept, meaning the visualization of history, visuality has been central to the legitimization of Western hegemony. Mirzoeff identifies three “complexes of visuality”—plantation slavery, imperialism, and the present-day military-industrial complex—and explains how, within each, power is made to seem self-evident through techniques of classification, separation, and aestheticization. At the same time, he shows how each complex of visuality has been countered—by the enslaved, the colonized, and opponents of war, all of whom assert autonomy from authority by claiming the right to look. Encompassing the Caribbean plantation and the Haitian revolution, anticolonialism in the South Pacific, antifascism in Italy and Algeria, and the contemporary global counterinsurgency, The Right to Look is a work of astonishing geographic, temporal, and conceptual reach.

    By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography.Dance--because of its ephemerality, corporeality, precariousness, scoring, and performativity--is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being. Scoring links it with conceptual art, as language becomes the articulator for possible as well as impossible modes of action. Finally, because dance always establishes a contract, or promise, between its choreographic planning and its actualization in movement, it reveals an essential performativity in its aesthetic project--a central concern for both art and critical thought in our time.This title is published in collaboration with Sadler's Wells, London.

    She was a daughter of the American Revolution—Anglo-Saxon, Republican, Episcopalian. She was tough, disciplined, courageous, dazzling, and went up against the masculine art world at its most entrenched, made her way in it, and disproved their notion that women couldn’t paint.Joan Mitchell is the first full-scale biography of the abstract expressionist painter who came of age in the 1950s, ’60s, and ’70s; a portrait of an outrageous artist and her struggling artist world, painters making their way in the second part of America’s twentieth century. As a young girl she was a champion figure skater, and though she lacked balance and coordination, accomplished one athletic triumph after another, until giving up competitive skating to become a painter. Mitchell saw people and things in color; color and emotion were the same to her. She said, “I use the past to make my pic[tures] and I want all of it and even you and me in candlelight on the train and every ‘lover’ I’ve ever had—every friend—nothing closed out. It’s all part of me and I want to confront it and sleep with it—the dreams—and paint it.”Her work had an unerring sense of formal rectitude, daring, and discipline, as well as delicacy, grace, and awkwardness.Mitchell exuded a young, smoky, tough glamour and was thought of as “sexy as hell.” Albers writes about how Mitchell married her girlhood pal, Barnet Rosset, Jr.—scion of a financier who was head of Chicago’s Metropolitan Trust and partner of Jimmy Roosevelt. Rosset went on to buy Grove Press in 1951, at Mitchell’s urging, and to publish Henry Miller, Samuel Beckett, Jean Genet, Jack Kerouac, Allen Ginsberg, et al., making Grove into the great avant-garde publishing house of its time. Mitchell’s life was messy and reckless: in New York and East Hampton carousing with de Kooning, Frank O’Hara, James Schuyler, Jane Freilicher, Franz Kline, Helen Frankenthaler, and others; going to clambakes, cocktail parties, softball games—and living an entirely different existence in Paris and Vétheuil.Mitchell’s inner life embraced a world beyond her own craft, especially literature . . . her compositions were informed by imagined landscapes or feelings about places. In Joan Mitchell, Patricia Albers brilliantly reconstructs the painter’s large and impassioned life: her growing prominence as an artist; her marriage and affairs; her friendships with poets and painters; her extraordinary work. Joan Mitchell re-creates the times, the people, and her worlds from the 1920s through the 1990s and brings it all spectacularly to life.

    Hokusai Manga is one of the masterpieces by Katsushika Hokusai (1760-1849), a master of Ukiyo-e art, depicting ordinary people’s lives, animals, plants, landscapes and human figures, historical and supernatural, even demons and monsters, as if it were a visual encyclopedia, amounting to fifteen volumes. Hokusai Manga turned out to be very popular among every class of people, from feudal lords to the general public, and became a long time best-seller in the Edo period. This book selects pieces from each volume and compiles them into one charming book. The original masterpiece spread throughout Japan and flowed into Europe in the middle of the nineteenth century, where it had a striking impact on artists, including Impressionists Manet, Monet, Degas, and others. The artistic movement ‘Japonisme’ began in part due to its influence.

    A compelling take on Pop art from esteemed critic Hal FosterWho branded painting in the Pop age more brazenly than Richard Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter, and Ed Ruscha? And who probed the Pop revolution in image and identity more intensely than they? In The First Pop Age, leading critic and historian Hal Foster presents an exciting new interpretation of Pop art through the work of these Pop Five.Beautifully illustrated in color throughout, the book reveals how these seminal artists hold on to old forms of art while drawing on new subjects of media; how they strike an ambiguous attitude toward both high art and mass culture; and how they suggest that a heightened confusion between images and people is definitive of Pop culture at large.As The First Pop Age looks back to the early years of Pop art, it also raises important questions about the present: What has changed in the look of screened and scanned images today? Is our media environment qualitatively different from that described by Warhol and company? Have we moved beyond the Pop age, or do we live in its aftermath?A masterful account of one of the most important periods of twentieth-century art, this is a book that also sheds new light on our complex relationship to images today.

    Designed to demonstrate the artists' abilities and to promote racial equality, the exhibition also revealed the art world's anxieties about the participation of African Americans in the exclusive venue of art museums—places where blacks had historically been barred from visiting let alone exhibiting. Since then, America's major art museums have served as crucial locations for African Americans to protest against their exclusion and attest to their contributions in the visual arts.In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans—an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions—Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent.

    This catalogue focuses on a crucial period in the 1480s and 1490s when, as a salaried court artist to Duke Ludovico Sforza in the city-state of Milan, freed from the pressures of making a living in the commercially minded Florentine republic, Leonardo produced some of the most celebrated—and influential—work of his career. The Last Supper, his two versions of The Virgin of the Rocks, and the beautiful portrait of Ludovico's mistress, Cecilia Gallerani (The Lady with an Ermine), were paintings that set a new standard for his Milanese contemporaries. Leonardo's style was magnified, through collaboration and imitation, to become the visual language of the regime, and by the time he returned to Florence in 1500, his status had been utterly transformed.

    1525-69) has jolted a revived public awareness of the great Flemish painter and his work. Best known for his amusing depictions of peasants, landscapes, and Bosch-like fantasies, Bruegel also created a wide range of highly original interpretations of religious themes in an era marked by religious controversies. Over a career of two decades as both a printmaker and a painter, he found his artistic niche in Europe's leading center of international trade, the emerging capital of capitalism, Antwerp. All of Bruegel's drawings, prints, and paintings on both canvas and panel - including the new Madrid canvas - are examined for form and content with comprehensive analysis. In addition, interpretation of the full range of Flemish paintings and prints during his generation is presented through the lens of Hieronymus Cock, Bruegel's own print publisher, "At the Sign of the Four Winds". Within this spectrum Bruegel's uniqueness and mastery emerges clearly. While scholars will appreciate the novel insights of this comprehensive re-examination of Pieter Bruegel, its highly accessible text will introduce newcomers and the general public to the delights of this inventive, trenchant, yet often amusing visual commentator on the human condition. All readers will relish the large-scale reproductions and frequent details in full color of his entire oeuvre in all media. This handsome, largescale volume will form the definitive study and accessible introduction to the life and art of Pieter Bruegel.

    This book explores the vital role played by drawing and design in the work of the Brotherhood and their associates and followers. Alongside nudes and figure studies are the group’s portraits, self-portraits, and caricatures that were often exchanged as gifts between friends; delicate studies of nature by John Ruskin and John Brett; scenes derived from religious, literary, and medieval sources; captivating studies of the iconic Pre-Raphaelite models Lizzie Siddal and Jane Morris; and original designs for stained glass, textiles, and ceramics.The book explores the full variety of Pre-Raphaelite drawing and demonstrates the impact that it had on turn-of-the-century British art movements such as Aestheticism, Symbolism, and Art Nouveau. Illustrated with the most important Pre-Raphaelite drawings from public and private collections in Britain—including striking works by Dante Gabriel Rossetti, William Holman Hunt, and Edward Burne- Jones that have never before been exhibited or reproduced—it offers an intimate look into the enchanting world of the Pre-Raphaelites.

    The best of Tom Lubbock, one of Britain's most intelligent, outspoken and revelatory art critics, is collected here for the first time.There are electrifying insights - using Hitchcock's Suspicion to explore the lighting effects in a Zurbarán still life, imagining three short films to tease out the meanings of El Greco's Boy Lighting a Candle - and cool judgements - how Vuillard's genius is confined to a single decade, when he worked at home, why Ingres is really 'an exciting wierdo'.Ranging with passionate perspicacity over eight hundred years of Western art, whether it's Giotto's raging vices, Guston's 'slobbish, squidgy' pinks, Géricault's pile of truncated limbs or Gwen John's Girl in a Blue Dress, Tom Lubbock writes with immediacy and authority about the fifty works which most gripped his imagination.

    Published to coincide with the historic reopening of the galleries of the Metropolitan Museum's Islamic Art Department, it presents nearly three hundred masterpieces from one of the finest collections in the world. The works range chronologically from the origins of Islam in the seventh century through the nineteenth century, and geographically from as far west as Spain and Morocco to as far east as India. Outstanding miniature paintings and illuminated manuscripts, ceramics, textiles, carpets, glass, and metalwork reflect the mutual influence of artistic practice in the sacred and secular realms. Many of these beautiful objects display the rich traditions of calligraphy, vegetal ornament (the arabesque), and geometric patterning that distinguish the arts of the Islamic world. With seven informative essays and almost three hundred catalogue entries—supplemented by introductory essays on the collection and its display—this handsome and comprehensive overview will enlighten the specialist and the general reader alike.

    This volume draws from the Museum of Modern Art's outstanding holdings of expressionist prints, enhanced by selected drawings, paintings and sculptures from the collection, to explore the importance of printmaking in German expressionism.

    Jake and Dinos Chapman’s work has come to define the spirit and impact of a generation of contemporary artists we know as the YBAs. Taking many forms across many mediums, from major installations to miniature sculpture, from etchings and drawings to films and performances, their work together and individually examines contemporary politics and morality with characteristic irreverence and profoundly caustic humor. Edited by the artists themselves, Flogging a Dead Horse is the most definitive monograph on the brothers’ work to date. With more than 300 reproductions of every major piece recorded in their career, the book captures the extraordinary detail of their celebrated dioramas, collects a vast archive of etchings, drawings, and watercolors, and draws on photographs of larger installations and exhibitions to present a comprehensive survey of twenty years of work-and to illuminate the monumental effort behind their projects. Designed by the Chapmans’ longtime collaborators Fuel, and with original cover and slipcase art made for the project by Dinos Chapman, this book will stand as a collectible object in its own right.

    This is the first comprehensive popular survey of the art movement around the world. Organized thematically, it explores the origins of the movement and its evolution, the relationship between street art and the urban environment, its interactions with (or rejection of) the market and the world of commercial galleries, and the culture of street art online.The book features a wide range of artists working in different media and styles across multiple countries. It explains the terms and language of street art—from tags and throwies to culture jamming and subvertising—as well as its multiple influences and sub-genres.

    The Florentine painter Botticelli personifies the Golden Age of the early Renaissance. Best known for The Birth of Venus and Primavera, Botticelli painted with an expressive poeticism that eschewed formal realism. He used line and color to gorgeous effect, creating some of the most beloved and familiar images of all time. Overflowing with impeccably reproduced images, this book offers full-page spreads of masterpieces as well as highlights of smaller details--allowing the viewer to appreciate every aspect of the artist's technique and oeuvre. Chronologically arranged, the book covers important biographical and historic events that reflect the latest scholarship. Additional information includes a list of works, timeline, and suggestions for further reading.

                Beginning with the basic shapes of clothing and the anatomy of folds, and progressing to final rendering techniques of both sculpted and loose drapery on solid forms—including how motion affects wrinkles, folds, and waves, The Artist’s Guide to Drawing the Clothed Figure presents a novel and completely thorough approach to understanding the mechanics of drapery.             This comprehensive resource examines the mechanical principles behind the formation of folds: simple wave patterns, intersecting wave patterns, and tertiary effects upon these two, such as twisting and flowing forms. The book breaks down all clothing into three types: sculpted forms, loose drapery, and, most especially, tubes.            Once these mechanics are established, various techniques for rendering clothing are presented, including how factors such as the stiffness, thickness, or texture of a particular material can affect the appearance of an article of clothing. Throughout, the author examines examples from master draftspersons—old masters, cartoonists, illustrators, and fashion illustrators, including Leonardo da Vinci, Ingres, Degas, Joseph Christian, Leyendecker, Charles Dana Gibson, Raphael, and Will Eisner—to see how they interpreted this information.

    It draws on illuminated manuscripts, early printed books, tapestries, paintings, and sculpture from museums and libraries around the world.“Symbolism and metaphors are buried in the art of fashion,” says Roger Wieck, the editor of Illuminating Fashion. Examining the role of social customs and politics in influencing dress, at a time of rapid change in fashion, this fully illustrated volume demonstrates the richness of such symbolism in medieval art and how artists used clothing and costume to help viewers interpret an image.At the heart of the work is A Pictorial History of Fashion, 1325 to 1515, an album of over 300 illustrations with commentary. This is followed by a comprehensive glossary of medieval English and French clothing terms and an extensive list of dated and datable works of art. Not only can this fully illustrated volume be used as guide to a fuller understanding of the works of art, it can also help date an undated work; reveal the shape and structure of actual garments; and open up a picture’s iconographic and social content.It is invaluable for costume designers, students and scholars of the history of dress and history of art, as well as those who need to date works of art.

    The latest volume, Digital Art Masters: Volume 6, welcomes another fifty up-and-coming and veteran artists and follows the tradition of taking readers beyond the breathtaking images with detailed breakdowns of the techniques and tricks each artist employed while creating their stunning imagery.Inspirational and instructive, this is more than just a gallery or coffee table book. Digital Art Masters: Volume 6 is a valuable learning tool with the added bonus of video tutorials from selected artists who specifically detail an aspect of their gallery image from start to finish, offering further technical insight into the creative process.

    The artists include: Marijke Koger, a Dutch artist responsible for dressing the Beatles; Mati Klarwein, who painted the cover for Miles Davis‘ Bitches Brew; Keiichi Tanaami, the Japanese master of psychedelic posters; Heinz Edelmann, the German illustrator and designer of the Yellow Submarine animated film; Tadanori Yokoo, whose prints and books, defined the ‘60s in Japan; Dudley Edwards, a painter, car designer, and graphic embellisher for the London rock scene, and the enigmatic Australian Martin Sharp, whose work for Cream and underground magazines made him a hippie household name in Europe.

    These remarkable paintings, dating from 1100 to 1900, were selected according to identifiable artists, and they refute the long-held view of anonymous authorship in Indian art.Traditionally, Indian paintings have been classified by regional styles or dynastic periods, with an emphasis on subject matter. Stressing the combined tools of connoisseurship and inscriptional evidence, the pioneering research reflected in this book has identified individual artists and their oeuvres through the analysis of style.The introductory essay outlines the origins of early Indian painting of the first millennium, which set the scene for the development of the art of the book. The sections that follow examine manuscript painting as it evolved from palm-leaf to paper, the emergence of traditional painting as an independent art form, and its demise with the coming of photography. Biographies of the artists whose works appear in this volume and a glossary of their major literary sources provide valuable context.

    Challenging characterizations of Darwin’s work as a form of genetic determinism, Grosz shows that his writing reveals an insistence on the difference between natural selection and sexual selection, the principles that regulate survival and attractiveness, respectively. Sexual selection complicates natural selection by introducing aesthetic factors and the expression of individual will, desire, or pleasure. Grosz explores how Darwin’s theory of sexual selection transforms philosophy, our understanding of humanity in its male and female forms, our ideas of political relations, and our concepts of art. Connecting the naturalist’s work to the writings of Bergson, Deleuze, and Irigaray, she outlines a postmodern Darwinism that understands all of life as forms of competing and coordinating modes of openness. Although feminists have been suspicious of the concepts of nature and biology central to Darwin’s work, Grosz proposes that his writings are a rich resource for developing a more politicized, radical, and far-reaching feminist understanding of matter, nature, biology, time, and becoming.

    Cutler's gouaches and drawings on paper have won fans and collectors worldwide, and their winning amalgam of rich imagination and skillful execution, which together update lineages as various as Persian miniature painting, Surrealism, children's fairytale books and Japanese woodblock printing, offers satisfactions rarely found in contemporary art. More recently, Cutler has ventured into sculptural installation, realizing her idiosyncratic world in three dimensions with a work titled -Alteraciones,- in which dozens of female figurines--produced from molds handmade by the artist--are gathered around a tabletop and are weaving a thread that binds them to each other. This volume, published for the artist's 2011 exhibition at SITE Sante Fe, is Cutler's second monograph (her first went out of print quickly and is already a rarity), and draws from private and public collections to offer a thorough survey of her work from the late 1990s to the present.

    He uses photography to break down barriers between public and private spheres of activity. His subjects are willing collaborators: drawn from skateboard, music, and graffiti subcultures, they perform for the camera and expose themselves with a frank self-awareness that is distinctly contemporary. The results form a portrait of a generation that is savvy about visual culture and acutely aware of how identity can be communicated through photography. McGinley's newest work signals a departure from the urban youth culture images for which he is best known; he has been working in natural settings outside New York City, creating specific situations for his subjects to lose themselves in the moment. McGinley embraces nature as a site of freedom and captures a sense of buoyancy and release.

    The Book of Kells The Book of Kells The Book of Kells The Book of Kells The Book of Kells The Book of Kells

    The principal text is the first English translation of Roche's novel Victor, an account of his friendship with Duchamp (nicknamed Victor by his close friends in those days). Although unfinished, Roche's text offers a unique account of New York Dada, all of whose principal characters and events make an appearance: Francis Picabia, Arthur Cravan, the Arensbergs and their soirees, the Blind Man's Ball and the scandal of Duchamp's -Fountain- at the Independents exhibition, a pivotal moment in modern art. The novel offers interesting insights into the sexual politics of the period, when a woman could be arrested or blackmailed for spending the night with a man to whom she was not married. Roche, a lifelong friend of Duchamp, appears to have been something of a devotee of triangular relationships, and went on to write a more famous novel on the topic (also autobiographical), Jules et Jim--later made into a film by Francois Truffaut. Beatrice Wood's account of these events is taken from her memoirs; she went on to become a celebrated ceramicist, dying in 1998 aged 105. The introduction and commentary is by Dawn Ades, the well-known scholar of Dada and Surrealism.

    In The One and the Many, Grant H. Kester provides an overview of the broader continuum of collaborative art, ranging from the work of artists and groups widely celebrated in the mainstream art world, such as Thomas Hirschhorn, Superflex, Francis Alÿs, and Santiago Sierra, to the less-publicized projects of groups, such as Park Fiction in Hamburg, Networking and Initiatives for Culture and the Arts in Myanmar, Ala Plastica in Argentina, Huit Facettes in Senegal, and Dialogue in central India. The work of these groups often overlaps with the activities of NGOs, activists, and urban planners. Kester argues that these parallels are symptomatic of an important transition in contemporary art practice, as conventional notions of aesthetic autonomy are being redefined and renegotiated. He describes a shift from a concept of art as something envisioned beforehand by the artist and placed before the viewer, to the concept of art as a process of reciprocal creative labor. The One and the Many presents a critical framework that addresses the new forms of agency and identity mobilized by the process of collaborative production.

    Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    Its narrative commences with a portrait of the vigorous studio practice Haring had already established after enrolling in New York's School of Visual Arts, and tracks his metamorphosis into an ultra-prolific artist making political public art on downtown streets and responding to the city's graffiti culture, intent on making art that would fall outside the boundaries of the institutions. Reproduced throughout are rarely seen drawings and sketchbooks, video stills, flyers, posters, photographs, subway drawings, word collages, texts and diaries. Keith Haring: 1978-1982 unfolds the nascent career of this tireless creator, philosopher, agitator and activist, one of the most iconic and popular artists of the twentieth century.

    With an introduction to the life and art of this experimental artist, the book showcases his key works in all their glory.

    This is a fascinating biography that explores his early years, his personal life and the historical context of the early 17th century. It analyzes his creative progress and the artistic influences that led him to develop his work from the grand Baroque to a less exuberant style.

    Moments frozen in paint that reveal young women sewing, reading or playing musical instruments, captured in Vermeer's uniquely luminous style, recreate a silent and often mysterious domestic realm, closed to the outside world, and inhabited almost exclusively by women and children. Three internationally recognized experts in the field explain why women engaged in mundane domestic tasks, or in pleasurable pastimes such as music making, writing letters, or adjusting their toilette, comprise some of the most popular Dutch paintings of the seventeenth century. Among the most intriguing of these compositions are those that consciously avoid any engagement with the viewer. Rather than acknowledging our presence, figures avert their gazes or turn their backs upon us; they stare moodily into space or focus intently on the activities at hand. In viewing these paintings, we have the impression that we have stumbled upon a private world kept hidden from casual regard. The ravishingly beautiful paintings of Vermeer are perhaps the most poetic evocations of this secretive world, but other Dutch painters sought to imbue simple domestic scenes with an air of silent mystery, and the book also features works by some of the most important masters of 17th-century Dutch genre painting, among them Gerard ter Borch, Gerrit Dou, Pieter de Hooch, Nicolaes Maes, and Jan Steen.

    The essays by Géza von Habsburg and other scholars present new findings on Fabergé, his workshops, and the creation of these extraordinary objects. For the first time all items by or attributed to Fabergé in VMFA's collection are documented along with the museum's significant holdings of other Russian decorative arts. Also included is a section on forgeries that bravely confronts this vexing question. Every object has been splendidly re-photographed for this book - and the detailed photography alone should provide inestimable value for future Fabergé scholarship.Richly illustrated with some 600 photographs, the volume documents an important collection bequeathed in 1947 to the Virginia Museum of Fine Arts by Lillian Thomas Pratt, of Fredericksburg, Va., the wife of General Motors executive John Lee Pratt. Her collection, assembled between 1933 and 1946, comprised several hundred creations by the Faberge workshops and by other Russian imperial jewelers. These exquisite, marvelously crafted objects, range from the majestic jeweled imperial eggs to delicate jeweled flowers in vases to diamond-encrusted icons and tiaras, to animal figures nimbly carved from precious stone.Contents: Introduction by Géza von Habsburg Chapter 1: The House of Fabergé/by Géza von HabsburgChapter 2: Behind the Scenes at Fabergé: The St. Petersburg Workshops/  by Ulla Tillander-GodenhieimChapter 3: Fabergé and His Russian Competitors/ by Géza von HabsburgChapter 4: Fabergé and His Foreign Competitors Chapter 5: Mrs. Pratt's Imperial Easter Eggs / by Carol AikenChapter 6: The Zarnitza Sailor and His Place in History / by Christel Ludewig McCaniessChapter 7: Fabergé and Grand Duchess Vladimir / by Alexander von SolodkoffChapter 8: Lillian Thomas Pratt and A La Vieille Russie: A Personal Relationship/ by Mark SchafferChapter 9: Fauxbergé / by Géza von HabsburgCatalogue: Fabergé/Other Makers/Forgeries

    By the 18th century, Vauxhall was crucial to the cultural and fashionable life of the country, patronized by all levels of society, from royal dukes to penurious servants. In the first book on the subject for over fifty years, Alan Borg and David E. Coke reveal the teeming life, the spectacular art and the ever-present music of Vauxhall in fascinating detail. Borg and Coke's historical exposition of the entire history of the gardens makes a major contribution to the study of London entertainments, art, music, sculpture, class and ideology. It reveals how Vauxhall linked high and popular culture in ways that look forward to the manner in which both art and entertainment have evolved in modern times.

    Better known as Alastair, the artist created works that are frequently likened to those of Aubrey Beardsley, Harry Clarke, and Edward Gorey. Alastair's highly ornate and distinctively ominous style blossomed with a series of erotic illustrations for the publisher and literary renegade Harry Crosby. This original selection of striking black-and-white drawings invites close examination and appreciation of the artist's skillful, sensual tone.These shadowy, sinuous images include characters from stories by Oscar Wilde and Flaubert, as well as scenes from La Tosca and The Magic Flute. An informative Introduction by editor David A. Beronä, a historian of illustrated books, offers background on Alastair and his unique place in twentieth-century art and illustration. Art historians, bibliophiles, and collectors and students of drawing and book illustration will treasure this affordable compilation of hard-to-find works.

    Readers of this book will find much to discover and relish in Paul Klee's art. Several lavish reproductions of his iconic works, as well as those that are more rarely exhibited, are featured alongside in-depth biographical information that looks beyond his many artistic achievements to explore the life and times of the man himself. Never-before-published photographs of Klee and his circle, as well as entertaining and enlightening anecdotes, offer a multifaceted perspective on a groundbreaking artist and the events that helped shape his colorful, imaginative work.

    Closely examining some of the most meaningful and best preserved premodern illustrated manuscripts of Islamic cosmographies, Persis Berlekamp refutes the assertion often made by other historians of medieval Islamic art that, while representational images did exist, they did not serve religious purposes.The author focuses on widely disseminated Islamic images of the wonders of creation, ranging from angels to human-snatching birds, and argues that these illustrated manuscripts aimed to induce wonder at God's creation, as was their stated purpose. She tracks the various ways that images advanced that purpose in the genre's formative milieu--the century and a half following the Mongol conquest of the Islamic East in 1258. Delving into social history and into philosophical ideas relevant to manuscript and image production, Berlekamp shows that philosophy occupied an established, if controversial, position within Islam. She thereby radically reframes representational images within the history of Islam.

    Vivid colors. Thick layers of paint. These are the hallmarks of a painting by Vincent van Gogh, whose work his fellow artist Paul Cézanne once called “that of a madman.” But Van Gogh and the Post-Impressionists for Kids moves beyond the image of the mad pauper to reveal a complex young man who loved nature and reading, spoke four languages, and enjoyed a successful career as a gallery salesman before embarking on studies as a minister and, finally, finding his calling as an artist.     Kids journey from the Netherlands to Paris to southern France as they learn about van Gogh’s friendships with four other like-minded painters who admired but were determined to depart from Impressionism: Paul Gauguin, Paul Signac, Émile Bernard, and Henri de Toulouse-Lautrec. Aspiring artists and history buffs learn not only how these Post-Impressionists’ daring shapes, colors, and techniques distinguished their work from what was painted before but also how the men helped one another and whether or not they always got along.     Twenty-one creative projects bring history and art to life. Readers will create a Starry Night peep box, make a Pointillist sailboat (that can really sail!), craft a Japanese fold-out album, and much more. The text includes a time line, glossary, and reading list for further study.

    By 1900, Paris had recovered and the Belle Epoque was in full flower, but the decades between were difficult, marked by struggles between republicans and monarchists, the Republic and the Church, and an ongoing economic malaise, darkened by a rising tide of virulent anti-Semitism. Yet these same years also witnessed an extraordinary blossoming, in art, literature, poetry, and music, with the Parisian cultural scene dramatically upended by revolutionaries such as Monet, Zola, Rodin, and Debussy, even while Gustave Eiffel was challenging architectural tradition with his iconic tower. Through the eyes of these pioneers and others, including Sarah Bernhardt, Georges Clemenceau, Marie Curie, and Cesar Ritz, we witness their struggles with the forces of tradition during the final years of a century hurtling towards its close. Through rich illustrations and evocative narrative, McAuliffe brings this vibrant and seminal era to life."

    Written by one of the leading scholars in the field and illustrated with many of the most impressive artifacts, it will be the authoritative book on the subject for years to come.The Anglo-Saxon period in England, roughly A.D. 400-1100, was a time of extraordinary and profound cultural transformation, culminating in a dramatic shift from a barbarian society to a recognizably medieval civilization. Settled by northern European tribal groupings of pagan and illiterate warriors and farmers in the fifth century, England had by the eleventh century acquired all the trappings of medieval statehood--a developed urban network and complex economy, a carefully regulated coinage, flourishing centers of religion and learning, a vigorous literary tradition, and a remarkable and highly influential artistic heritage that had significant impact far beyond England itself. This book traces the changing nature of that art, the different roles it played in culture, and the various ways it both reflected and influenced the context in which it was created.From its first manifestations in the metalwork and ceramics of the early settlers, Anglo-Saxon art displays certain inherent and highly distinctive stylistic and iconographic features. Despite the many new influences that were regularly absorbed and adapted by Anglo-Saxon artists and craftsmen, these characteristics continued to resonate through the centuries in the great manuscripts, ivories, metalwork, and sculpture of this inventive and creative culture. Anglo-Saxon Art--which features 150 color and black-and-white illustrations--is arranged thematically while following a broadly chronological sequence. An introduction highlights the character of Anglo-Saxon art, its leitmotifs, and its underlying continuities. Leslie Webster places this art firmly in its wider cultural and political context while also examining the significant conceptual relationship between the visual and literary art of the period.

    While the book presents the classic canon of Renaissance painting and sculpture in full, it expands the scope of conventional surveys by offering a more through coverage of architecture, decorative and domestic art, and print media. Rather than emphasizing artists’ biographies, this new account concentrates on the works, discussing means of production, the place for which images were made, concerns of patrons, and the expectation and responses of the works first viewers. Renaissance art is seen as decidedly new, a moment in the history of art whose concerns persist in the present.

    They take up issues of appropriation in the popular and the avant-garde, in altered billboards and the work of the renowned painter Chris Ofili, in hip-hop and the compositions of Béla Bartók and Zoltán Kodály, and in audio mash-ups, remixed news broadcasts, pranks, culture jamming, and numerous other cultural forms. The borrowing practices that they consider often run afoul of intellectual property regimes, and many of the contributors address the effects of copyright and trademark law on creativity. Among the contributors are the novelist and essayist Jonathan Lethem, the poet and cultural critic Joshua Clover, the filmmaker Craig Baldwin, the hip-hop historian Jeff Chang, the ’zine-maker and sound collage artist Lloyd Dunn, and Negativland, the infamous collective that was sued in 1991 for sampling U2 in a satirical sound collage. Cutting Across Media is both a serious examination of collage and appropriation practices and a celebration of their transformative political and cultural possibilities.ContributorsCraig BaldwinDavid BanashMarcus BoonJeff ChangJoshua CloverLorraine Morales CoxLloyd DunnPhilo T. FarnsworthPierre JorisDouglas KahnRudolf KuenzliRob LathamJonathan LethemCarrie McLarenKembrew McLeodNegativlandDavis SchneidermanDavid TetzlaffGábor VályiWarner Special ProductsEva Hemmungs Wirtén

    Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustrated directory of hundreds of others.Among the magazines Allen examines are Aspen (1965--1971), a multimedia magazine in a box -- issues included Super-8 films, flexi-disc records, critical writings, artists' postage stamps, and collectible chapbooks; Avalanche (1970-1976), which expressed the countercultural character of the emerging SoHo art community through its interviews and artist-designed contributions; and Real Life (1979-1994), published by Thomas Lawson and Susan Morgan as a forum for the Pictures generation. These and the other magazines Allen examines expressed their differences from mainstream media in both form and content: they cast their homemade, do-it-yourself quality against the slickness of an Artforum, and they created work that defied the formalist orthodoxy of the day. Artists' Magazines, featuring abundant color illustrations of magazine covers and content, offers an essential guide to a little-explored medium.

    These developments, distinct in the world of political economy, were intertwined in the world of visual culture.David Ciarlo offers an innovative visual history of each of these transformations. Tracing commercial imagery across different products and media, Ciarlo shows how and why the "African native" had emerged by 1900 to become a familiar figure in the German landscape, selling everything from soap to shirts to coffee. The racialization of black figures, first associated with the American minstrel shows that toured Germany, found ever greater purchase in German advertising up to and after 1905, when Germany waged war against the Herero in Southwest Africa. The new reach of advertising not only expanded the domestic audience for German colonialism, but transformed colonialism's political and cultural meaning as well, by infusing it with a simplified racial cast.The visual realm shaped the worldview of the colonial rulers, illuminated the importance of commodities, and in the process, drew a path to German modernity. The powerful vision of racial difference at the core of this modernity would have profound consequences for the future.

     Set apart from other art forms in that it may never be performed in precisely the same way twice, ephemeral artwork exists both at the time of its staging and long after in the memories of its spectators and their testimonies, as well as in material objects, visual media, and text, all of which offer new critical possibilities. Among the artists, theorists, and historians who contributed to this volume are Marina Abramovic, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton, and Jean-Luc Nancy.

    Among the singular moments in the evolution of Western art, the Venetian Renaissance forged an artistic vocabulary of dazzling virtuosity. Celebrating the poetic potential of color and beauty observed in nature, Venetian painters of the fifteenth and sixteenth centuries transcended the spatial, textural, and emotional realism of their predecessors to create works unsurpassed in their sensual depictions, velvety surfaces, and unique and glorious treatment of light. Focusing on canonical works from Vienna's Kunsthistorisches Museum (one of the world's four great imperial museums, along with the Hermitage, the Louvre, and the Prado), this book's lavish illustrations and illuminating essays offer a rich introduction to the treasures of the Venetian Renaissance. Among the spectacular artworks are Mantegna's tortured Saint Sebastian, Titian's enigmatic Bravo (The Assassin) and sumptuous Danae, and a rare group of paintings by the elusive Giorgione, including Portrait of a Young Woman (Laura) and The Three philosophers. The book also includes exemplary works by Veronese, Palma ecchio, Bordone, and Bassano, among others, revealing the full range of Venetian accomplishment in the Renaissance era.

    This comprehensive, lavishly illustrated catalogue offers the first in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works, some of which were previously considered lost. Now Dig This! will feature artists including Melvin Edwards, Fred Eversley, David Hammons, Maren Hassinger, Senga Nengudi, John Outterbridge, Alonzo Davis, Dale Brockman Davis, Noah Purifoy, Betye Saar, and Charles White, connecting their work to larger movements, trends, and ideas that fueled the arts during this important era of creative, cultural, and political ferment. The publication also explores the significant network of friendships and collaborations made across racial lines, while underscoring the influence that African American artists had on the era's larger movements and trends. Now Dig This! Art and Black Los Angeles, 1960-1980 is part of Pacific Standard Time, an initiative of the Getty.

    The powdery, vibrant crayons are particularly suited to capturing the skin tones and evanescent expressions that characterize the most lifelike portraits.Pastels cannot be permanently displayed because they are susceptible to fading, and they rarely travel. Until now, there has never been an exhibition in the U.S. devoted to these intriguing and important works. Pastel Portraits, the companion book to an exhibition at the Metropolitan Museum, presents over 40 exquisite works by French, Italian, English, Swiss, and American artists. It offers a technical discussion of the materials and explains why pastels achieved widespread popularity in the 1700s and how the fabrication of this medium intersected with Enlightenment thinking.

    It's no wonder that young people are drawn to the work of Paul Klee. The German artist was fascinated by children's drawings, and incorporated their energy and simplicity into his own work. This beautiful introduction to Klee's paintings focuses on the artist's love of color and symbols, his lighthearted technique, and his belief that music and painting were inextricably linked. Children will relate to the stories about Klee's life and struggles as an artist while learning about art. Eye-catching reproductions of Klee's masterpieces show children how the artist used lines, pigments, and texture in imaginative new ways. Best of all, enticing suggestions invite readers to try different art activities and projects.

    When he was just thirteen years old, Henry ran across a man painting in a Philadelphia park. Inspired to paint himself, Henry was given enough money to buy some brushes and pigments by his mother--and so his adventure began.  Henry Ossawa Tanner was no ordinary young man. He was born in 1859, just two years before the Civil War began. His middle name, Ossawa, was taken from the town of Osawatomie in Kansas, the site of an anti-slavery raid. The oldest of seven children, Henry graduated from one of the few secondary schools for Black people in Philadelphia before studying under Thomas Eakins at the Pennsylvania Academy of the Fine Arts. Later he went to France, where he had heard Black artists were accepted without prejudice. Indeed, not only were his paintings exhibited every year in the Paris Salon but in 1923, he was made a chevalier of the Order of the Legion of Honor, France's highest award for an artist.  Henry Ossawa Tanner: His Boyhood Dreams Come True is Faith Ringgold's fifteenth book for children. Her illustrations capture all the joy and passion of her previous stories--including Tar Beach, which has won more than thirty awards, including a Caldecott Honor and the Coretta Scott King Award.

    He is credited with influencing a remarkable range of people, including the Brontës and the Pre-Raphaelites.

    

    This groundbreaking book seeks to reimagine objects from eighteenth-century Paris within their original context, showing how they were used in the daily routines of elite members of society. Against the background of the reign of Louis XV (r. 1723–1774), the chapters move chronologically from morning to night, covering such topics as temporal literacy and technological advances in timekeeping; innovations in domestic architecture and design for privacy; fashion and self-identity as expressed in the ritual of the morning toilette; reading and discussion of literary texts as influences on the collecting of art; and sociability and politesse during nocturnal entertainments.The book reflects current scholarship in social history and material culture, but rather than being an exploration of the vernacular, it investigates the emergence of the luxury trade in eighteenth-century Paris, whose products survive in great quantity due to their superior materials and craftsmanship. The essays reveal many of the considerations—practical, social, and aesthetic—that inspired their production. By connecting the purposes, function, and beauty of these works of art, the volume makes a fascinating and important contribution to the study and enjoyment of a great period in French culture. The publication coincides with the exhibition Paris: Life & Luxury on view at the J. Paul Getty Museum from April 26 through August 7, 2011 and at the Museum of Fine Arts, Houston, from September 18 through December 10, 2011.

    Highlights from her collection appeared in three large-format volumes that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones."Europe and the World Beyond" focuses geographically on peoples of South America and the Mediterranean as well as Africa--but conceptually it emphasizes the many ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life, especially in cities and ports engaged in slave trade."The Eighteenth Century "features a particularly rich collection of images of Africans representing slavery's apogee and the beginnings of abolition. Old visual tropes of a master with adoring black slave gave way to depictions of Africans as victims and individuals, while at the same time the intellectual foundations of scientific racism were established.

    Dynasties represented here include the Valois and Bourbon in France; Bavarian, Habsburg, and Hanoverian in Germany, Central Europe, and Spain; Tudor, Stuart, and Hanoverian in Britain; and the House of Orange-Nassau in the Netherlands. Men and women famous in politics, religion, history, literature, and the arts, including Queen Elizabeth I, Louis XIV, Catherine the Great, Voltaire and Madame du Châtelet, Popes Clement XII and Pius VII, and Lord Byron are featured in this exquisite miniature gallery.The author draws upon her knowledge of jewelry, painting, history, and literature to set the portrait jewels in the context of people’s lives, and shows how they were worn and what they meant to donors and recipients—tokens of allegiance to a ruler, of commitment between lovers, of affection within families.

    Today, Duquette’s protégé and business partner, Hutton Wilkinson, continues that remarkable legacy with his own Duquette-inspired one-of-a-kind pieces, sold through specialty stores and jewelers. Tony Duquette/Hutton Wilkinson Jewelry presents the most spectacular, jaw-dropping pieces by both artists, whose belief that “more is more” is reflected in pieces set in 18-karat gold and dripping with precious and semiprecious stones that recall the splendors of the great courts of Renaissance kings, Chinese emperors, and maharajas. This precious luxury edition, with its gold foil stamping and gilt-edge pages, itself resembles an exquisite jewelry box, tempting all to peek inside and discover untold treasures.Praise for Tony Duquette/Hutton Wilkinson Jewelry:“A lavishly illustrated jewel box of a tome.” —Los Angeles Times

    The National Gallery of Art in Washington possesses nearly 400 French impressionist and post-impressionist paintings--one of the finest collections of its kind in the world. This book celebrates that collection with 50 of the Gallery's best-known works, which represent a generous cross section of impressionist and postimpressionist art at its most breathtaking. Reproduced with stunning quality, the full- and double-page illustrations allow readers to savor Van Gogh's vibrant palette, the lushness of Monet's gardens, the texture of Cezanne's still lifes, and the delicate beauty of Renoir's women. Works by Gauguin, Seurat, Bazille, and Toulouse-Lautrec display the wide range of styles encompassed by the impressionist and post-impressionist periods. Each masterpiece is accompanied by a brief and informative text, while an essay recounts the challenges and excitement of forming a storied collection. The next best thing to viewing such marvelous art in person, this book offers pleasure on every page."

    The activist vision of art and culture that she learned in those two communities, and especially from her family, has shaped her life and work as an art critic and curator. Featuring selections of her writings from the past twenty years, EyeMinded reveals Jones’s role in bringing attention to the work of African American, African, Latin American, and women artists who have challenged established art practices. Interviews that she conducted with the painter Howardena Pindell, the installation and performance artist David Hammons, and the Cuban sculptor Kcho appear along with pieces on the photographers Dawoud Bey, Lorna Simpson, and Pat Ward Williams; the sculptor Martin Puryear; the assemblage artist Betye Saar; and the painters Jean-Michel Basquiat, Norman Lewis, and Al Loving. Reflecting Jones’s curatorial sensibility, this collection is structured as a dialogue between her writings and works by her parents, her sister Lisa Jones, and her husband Guthrie P. Ramsey Jr. EyeMinded offers a glimpse into the family conversation that has shaped and sustained Jones, insight into the development of her critical and curatorial vision, and a survey of some of the most important figures in contemporary art.

    Frank Lloyd Wright was an architect of vast and unprecedented vision, whose work is not only still admired by the critics and carefully studied by historians but is also widely beloved. Comfortable spaces, humanly scaled, with extraordinary attention to detail-as seen in a range of architectural forms-are at the center of Wright’s enduring appeal.This vision and attention is nowhere more evident than in the drawings. It has been said that had Wright left us only drawings, and not his buildings as well, he would still be celebrated for his brilliant artistry, and this is borne out here. Even more significant, and shown here as never before, are the magical first moments of invention and inspiration-Wright’s earliest sketches, some never before published-which offer unique insight into the mind of the master architect.Frank Lloyd Wright Designs is the most important and comprehensive book to be published on the drawings, designs, conceptual sketches, elevations, and plans of Wright, with particular emphasis on the development of certain important projects. It includes the best-known and beloved projects-like Fallingwater, The Coonley House, Midway Gardens, the Guggenheim, the Imperial Hotel-as well as a range of intriguing, unfamiliar, and previously unpublished drawings by Wright.

    For a brief, intense period of time, the MBGC collaborated on projects against racism and in solidarity with national liberation movements, producing many beautiful multicolored silkscreened prints, note cards, banners, posters, and other print ephemera before withdrawing into the isolation of a sectarian and militaristic political line. By 1982 its core members were in prison or underground. Revolution as an Eternal Dream calls up the perpetual desire for revolution, but also the frailty of such dreams.

    While working at the psychiatric hospital of the University of Heidelberg, Prinzhorn focused on adding to the hospital’s collection of artwork created by mentally ill patients. Making use of this collection, he published Bildnerei der Geisteskranken or Artistry of the Mentally Ill in 1922, a study of what he termed “schizophrenic art,” richly illustrated with examples of works from asylum inmates. After Max Ernst brought a copy to Paris, it became an essential influence for the Surrealists, who, inspired by Freud, had already begun to explore the unconscious through dreams and automatic writing, simulating madness in their lack of reason, logic, and structure. Prinzhorn’s theories, mainly concerned with the borderline between illness and self-expression, were a perfect fit for the Surrealist aesthetic. At the center of Prinzhorn’s book were case studies of ten psychotic artists whom he refers to as the schizophrenic masters, for their “complete autistic isolation” and “gruesome solipsism.” The Art of Insanity collects these ten case histories along with over ninety original illustrations, and presents them in a new edition designed to focus on Prinzhorn’s unique, anthropological synthesis of psychoanalysis and art theory. Alongside many fascinating and bizarre artworks that cannot be found elsewhere, The Art of Insanity makes available in English this influential and unusual study that was crucial to the eventual formulation of the Art Brut movement by Jean Dubuffet and André Breton, as well as the overall project of the Surrealists.

    Its a match struck in the dark, a homemade multi-tool to help collectives carve out their own path through the ruins of the present, warmed by the stories and strategies of those who took Bertolt Brechts words to heart Art is not a mirror held up to reality, but a hammer with which to shape it. It was written over the course of three days by a group of students protesting the government cuts.

    2011, and at the Guildhall Art Gallery, London, 19 Sept. 2011 - 15 Jan. 2012.The moonlit, urban scenes of Leeds born John Atkinson Grimshaw have intrigued viewers since they were first painted.This exhibition brings together 60 works, including pictures that had disappeared for many years. Paintings and drawings by Grimshaw's talented sons and daughter are also included, with newly discovered family photographs revealing the private side of his life.The exhibition presents compelling aspects of Grimshaw's early landscapes and his Pre-Raphaelite eye for detail, his excitement with the industrial and suburban aspects of the Victorian city, and later works that introduce the female figure.The exhibition concludes with tiny harmonic beach scenes capturing sun, snow, and mist.Over a century later, photographer Liza Dracup has been inspired to produce new images in response to Atkinson Grimshaw's Moonlights. Dracup uses her camera as a creative tool to track the landscape at night, both natural and artificial, in her exhibition, Chasing the Gloaming.A new book Atkinson Grimshaw: Painter of Moonlight accompanies the exhibition, edited by Jane Sellars.source: http://art.yorkshire.com/exhibitions/...See video: http://www.youtube.com/watch?v=WWIKzc...

    Her Mythic Being performances critically engaged with popular representations of race, gender, sexuality, and class; they challenged viewers to accept personal responsibility for xenophobia and discrimination and the conditions that allowed them to persist. Piper’s work confronts viewers and forces them to reconsider assumptions about the social construction of identity. Adrian Piper: Race, Gender, and Embodiment is an in-depth analysis of this pioneering artist’s work, illustrated with more than ninety images, including twenty-one in color.Over the course of a decade, John P. Bowles and Piper conversed about her art and its meaning, reception, and relation to her scholarship on Kant’s philosophy. Drawing on those conversations, Bowles locates Piper’s work at the nexus of Conceptual and feminist art of the late 1960s and 1970s. Piper was the only African American woman associated with the Conceptual artists of the 1960s and one of only a few African Americans to participate in exhibitions of the nascent feminist art movement in the early 1970s. Bowles contends that Piper’s work is ultimately about our responsibility for the world in which we live.

    Yet within the literature on contemporary art, little has been said about this provocative relationship. Composed of fourteen original essays, Contemporary Art and Classical Myth addresses this scholarly gap, exploring, and in large part establishing, the multifaceted intersection of contemporary art and classical myth. Moving beyond the notion of art as illustration, the essays assembled here adopt a range of methodological frameworks, from iconography to deconstruction, and do so across an impressive range of artists and objects: Francis Alÿs, Ghada Amer, Wim Delvoye, Luciano Fabro, Joanna Frueh, Felix Gonzales-Torres, Duane Hanson, Yayoi Kusama, Roy Lichtenstein, Kara Walker, and an iconic photograph by Richard Drew subsequently entitled The Falling Man. Arranged so as to highlight both thematic and structural affinities, these essays manifest various aspects of the link between contemporary art and classical myth, while offering novel insights into the artists and myths under consideration. Some essays concentrate on single works as they relate to specific myths, while others take a broader approach, calling on myth as a means of grappling with dominant trends in contemporary art.

    Traditionally, when depicting Christ, artists had relied on rigidly copied prototypes and icons. Among Rembrandt's innovations was his use of a Jewish model to portray a Christ imbued with empathy, gentleness, grace, and faithfulness to nature.Lavishly illustrated, this captivating and important book presents the seven known panels, along with more than 60 paintings, drawings, and prints by Rembrandt and his pupils. Essays by expert contributors offer insights into the production of the panels and their relationship to other works in Rembrandt's oeuvre; how he changed the meaning and status of the canonical image of Christ in northern European art; and much more. Rembrandt and the Face of Jesus is a marvelously intriguing study of how one of the greatest painters of the Dutch Golden Age revolutionized an aspect of art history dating to antiquity.

    Fragonard (1732–1806) completed four large canvases for the comtesse du Barry’s chateau at Louveciennes, but they were replaced and returned to the artist. In 1790 Fragonard moved them to his cousin’s house in Grasse, and over the course of the year painted two further large-scale works and 18 additional panels.With 140 colour images of the Fragonard paintings, details, shots of the room, plans, original sketches, and other comparative images, author Colin Bailey explores the commission of the four main panels, their original arrangement at Louveciennes and the possible reasons for their rejection. Equally enthralling is the history of how the paintings were rediscovered in the late 19th century and how they eventually came to The Frick Collection.

    Richly informative."—Christopher Long, West 86th: A Journal of Decorative Arts, Design History, and Material Culture"Claire Beck Loos, a gifted photographer and writer, … reveals much about her ex-husband’s mercurial persona in a series of conversationally-toned vignettes …. Claire died tragically at 38, at the Riga concentration camp; her memoir thus becomes a haunting tribute not only to Loos's talents, but to her own.."—Judy Pollan, Modernism Magazine“Her artist’s way of encapsulating the essential about Loos in a mixture of camera-sharp observations is mitigated by an affectionate regard for the brilliant, but deeply flawed man that he was. The book is hugely perceptive and beautifully written.”—Dr. Irena Murray, Former Director of the British Architectural Library at the Royal Institute of British Architects (RIBA), London"Claire [Beck Loos]'s book reveals a sharp eye for capturing personality, story and zeitgeist.”—Stewart Oksenhorn, Arts Editor, Aspen Times"A highly personable and ultimately a sorrowful book about Loos in his declining years … provides a host of important insights into the man, his intellectual circle, and most importantly his approach to the practice of architecture. The memoir is skillfully and lucidly framed by introductory essays and an Afterword."—Dr. Harry Mallgrave, Professor of Architecture, Illinois Institute of Technology, Chicago"[In] short tales of an afternoon or a conversation … you get a very clear sense of who Loos was as a person, or at least how Claire remembers him: an eccentric who flits between intense joy and fury, generous to a fault, unafraid to disagree intensely with a client, full of quips and contradictory ways of seeing the world. It is indeed a personal portrait, and a surprising, quite wonderful little book.”—Nicole Stock, Urbis architecture magazine, New Zealand"In razor-sharp anecdotes, some a paragraph, some several pages, Claire writes in the present tense. The result is altogether Loosian: timeless, with as little ornament, but as much empathy, as any protégé could deliver. Here, theory in the flesh walks in.”—Barbara Lamprecht, author of Neutra: Complete Works in a book review for the Society of Architectural HistoriansAdolf Loos—A Private Portrait is an unusual, literary biography featuring lively, often humorous, “snapshots” of Viennese-Czechoslovak architect Adolf Loos. An intimate collection of vignettes reveal Loos’ personality, temperament and philosophy during the last years of his life (1929-1933) and the ways in which he helped shape Modern architecture. This translation, by Constance C. Pontasch and Nicholas Saunders, is the first English edition, the book having enjoyed several reprints in German.The author, Claire Beck Loos, was a photographer and Adolf Loos’ last wife. She was born in 1904 in Czechoslovakia; her family were Jewish industrialists and important early clients of Loos, commissioning several apartments in Pilsen and works by the architect’s friend Oskar Kokoschka. In addition to being a biography of her husband, Adolf Loos—A Private Portrait also serves as a self-portrait of Claire, a vibrant young artist who died a tragic and untimely death at Riga, a Nazi concentration camp, in 1942. The book includes supplemental texts by Claire’s niece Janet Beck Wilson, biographical materials and previously unpublished artistic photographs by the author.

    This full-color catalogue features more than 70 of the most important nineteenth-century European paintings in the Clark Art Institute, including masterpieces by Monet, Pissarro, Sisley, Morisot, Manet, Degas, and Renoir. The book also includes earlier works by Corot and Millet, as well as academic paintings by artists such as Gérôme and Bouguereau. Insightful essays by leading scholars of nineteenth-century European art are followed by lavish reproductions and illuminating catalogue entries about each work. James Ganz offers a fascinating introduction to Sterling Clark, an heir to the Singer sewing machine fortune, who along with his wife Francine founded the Sterling and Francine Clark Art Institute to house their important collection of European and American paintings, sculpture, drawings, and decorative arts. Richard Brettell discusses Clark in the context of other early-twentieth-century collectors such as Albert Barnes and Duncan Phillips. Published to accompany an international tour of the featured works, this handsome volume provides a superb overview of this extraordinary collection.

    Hoppé (1878–1972) was one of the most important and influential photographers of the first half of the twentieth century on both sides of the Atlantic. Featuring previously unpublished work, Hoppé Portraits establishes Hoppé as a great figure in the history of photographic portraiture through a rich selection of strikingly modernist portraits, as well as early photojournalist studies.Born in Munich in 1878 and resident in Britain from 1902, Emil Otto Hoppé began his photographic career in 1907 and rose to prominence photographing eminent figures from the worlds of literature, politics and the arts. Sitters include Jacob Epstein, Henry James, Tilly Losch, Vaslav Nijinsky, Tamara Karsavina, Margot Fonteyn, W. Somerset Maugham, George Bernard Shaw and the royal family.Less well known are his sensitive studies of ordinary people – such as cleaners, maids, and street vendors – that Hoppé made on location as well as in his London studio from the 1920s onwards. His photo-stories of the early 1930s were taken for the new pictureled reportage magazines, such as Weekly Illustrated. These masterful observations had a major impact on later photographers and predate the growth of photojournalism during and after the Second World War.Following extensive conservation and organisation, the Hoppé photographic archive has been recently reunited with letters and biographical documents held by his estate. This important survey showcases 150 of Hoppé’s remarkable portraits, including many previously unpublished photographs as well as new research into his life and work.Format: 280 x 230mmExtent: 176 pages Illustrations: 150

    An account of painter Ravi Varma's traditional background and environment and how they related to the modernization of colonial India, as well as his profession as an aristocratic itinerant painter.

    Working with the symbolic languages of these institutions, these cultural agents develop projects--or "byproducts"--that are contingent on their hosts. Among the many contributors are Claire Bishop, Peter Eleey, Lev Kreft, Pedro Reyes and The Yes Men.

    And when, soon after, the French government purchased an armless statue of Aphrodite on the island of Melos and displayed it triumphantly in the Louvre, it too identified France as the natural heir of antiquity. The Austrians and Germans, for their part, unearthed and brought home vast quantities of sculpture and architecture from throughout the Near East. Beginning in the mid-eighteenth century, European scholars and amateurs poured into Greece, Turkey, Egypt, Syria, Lebanon, and Mesopotamia to explore, dig, catalogue, and cart home the material remains of the ancient world. The collections they amassed became celebrated museums; the scholarly techniques they developed formed the foundation of modern, scientific archaeology. But at the time, the lands they traversed and the antiquities they found belonged neither to the empires of Europe nor to local states; rather, the entire territory was the possession of the Ottoman Empire. What did the Ottomans think of the European passion for die past? What was their own view of the ancient world and its heritage?Scramble for the Past explores the historiography of archaeology in the Ottoman domains between the founding of London's British Museum in 1753 and that of Istanbul's Evkaf Museum (Museum of Islamic Art) in 1914. Essays by fifteen leading international scholars explore the relationship of archaeology to politics, ideology, and national identity as well as the influences of the ancient finds on popular culture. Filled with anecdote and incident, richly illustrated with period paintings, sculptures, postcards, photographs, documents, and rarities from the Ottoman archives

    Towards the trip's end, Dadd underwent a dramatic personality change, believing himself to be under the command of the god Osiris. Upon his return to England, he was diagnosed -of unsound mind- and was taken by his family to recuperate in Cobham, Kent. It was here, in August 1843, that Dadd murdered his father, before fleeing to France where he was eventually captured and committed to Bedlam psychiatric hospital in London. Over the next 40 years, Dadd made some of Victorian Britain's most mesmerizing paintings, such as his endlessly detailed masterpiece, -The Fairy Feller's Masterstroke- --a proto-psychedelic fairy drama whose fame in the 1960s and 70s prompted the rock band Queen to record a song about it, and which remains one of Tate Britain's most visited paintings. The tale of the rediscovery of Dadd's greatest watercolor, -The Artist's Halt in the Desert, - on The Antiques Roadshow in 1987 has also entered popular folklore. Richard Dadd: The Artist and the Asylum is the first thorough monograph on this neglected Victorian virtuoso. Alongside its 100 color plates, critical essays overturn several myths about Dadd (revealing, for example, that his jailers were generous and often acted as his patrons rather than as his oppressors) and trace the critical reception of his now widely admired art.Richard Dadd (1817-1886) was born in Chatham, Kent, and entered The Royal Academy at the age of 20. In 1842, Sir Thomas Phillips chose Dadd to accompany him as his draftsman on an expedition to the Middle East, during which the first signs of the artist's schizophrenia emerged. Following his murder of his father in 1843, Dadd was incarcerated in Bedlam hospital, later being moved to Broadmoor, where he died in 1886.

    Often defined by its references to manga or anime, contemporary Japanese art in fact has much broader roots. By drawing parallels between the art of Japan past and present, this compelling volume reveals how current artists rework the traditional forms and techniques of Japanese art history. Modern takes on time-honored conventions are illustrated by the work of a star-studded roster of contemporary artists including Tabaimo, Makoto Aida, Takashi Murakami, Yoshitomo Nara, and Yayoi Kusama. Aficionados of both contemporary and traditional Japan are sure to appreciate this fresh perspective on art and the power of visual culture.

    This book tells the story of the postman Zephyr, who lives in a little blue village in the mountains where nothing ever changes. A dreamer hoping for adventures, he travels on a cloud, embarking on a fantastic airborne journey that takes him to distant and colorful lands. Eventually Zephyr falls to earth and meets a beautiful young woman. Together they return to the postman's home village which is now transformed in Zephyr's eyes and begin their exciting new life together. Inspired by Chagall's masterpiece, a world of color and imagination awaits the readers of this book. Paintings based on Chagall's striking palette and elegant lines help tell a simple yet poetic story. The book includes a gorgeous reproduction of Chagall's masterpiece -Les Maries de la Tour Eiffel- (-The Brideand Groom of the Eiffel Tower-), illustrating a journey of words and pictures, and introducing young readers to the work of one of the most popular artists of the twentieth century.

    Since World War II, New York has been the indisputable center of the art world, and as Katy Siegel shows, it has had a profound influence on the preoccupations that contemporary art would  come to have. Tracing art history over the past decades, she shows how anxieties over race, mass culture, the individual, suburbia, apocalypse, and nuclear destruction have supplanted the legacy of European artistic traditions.  Siegel’s study encompasses a variety of works, including Rothko’s planes of color, Warhol’s serial silkscreens, Richard Prince’s cowboys, Robert Longo’s Men in Cities, Faith Ringgold’s Black Light, and Laurie Simmons’s dollhouses, and moves fluidly from discussions of artists’ works, art museums, and galleries to cultural influences and significant historical events. Rather than arguing on nationalist grounds or viewing American culture as representative of a now-devalued nation, Siegel explores how American culture dominated not only American artists but created conditions that now, after the full globalization of the art world, affect artists around the world. Since ’45 will interest all readers engaged in post-war and contemporary art in the United States and beyond.

    Visionary art, art brut, art of the insane, naive art, vernacular art, "raw vision"--what do all these and many other categories describe? An art made outside the boundaries of official culture, first recognized more than a century ago by German psychiatrists who appreciated the profound artistic expression in the work of institutionalized patients. Promoted by brilliant museum curators like Alfred Barr and artists like Jean Dubuffet, such work became a wellspring of modern and contemporary art. This volume bringstogether works by twelve of the most influential self-taught artists to emerge during the past century. Each represents a facet of the outsider art phenomenon, from mental patients like Adolf W lfli and Mart'n Ram'rez, through vernacular masters like Bill Traylor and Thornton Dial, to artists who seem to be in touch with other worlds, such as Madge Gill and Henry Darger. Related artists are featured along with each key figure, allowing a fuller picture to emerge. This book presents a narrative of the history ofoutsider art, clarifies predominant theoretical issues, and draws comparisons with the modernist tradition. It brings into focus the enormous contributions self-taught artists have made to ourunderstanding of creative genius and presents them in a book that will enthrall anyone interested in Outsider Art.

    As they read the book, children are invited to wander through a virtual art gallery where each room features a different color. Beginning with black and white, going through the primary colors, the mixed colors, and finishing with brown and gold, the book presents the evolution of pigment in art works from cave drawings to contemporary paintings. In addition, entertaining puzzles, quizzes and activities will spark children's creativity. Beautifully designed for reading alone or with an adult, Red Yellow Blue gives children access to the complex world of color in a language and style they will respond to and enjoy.

    Monet's famous garden at Giverny provided the inspiration for the paintings. The exhibition will bring to life the importance and beauty of this garden through a range of archival photographs, as well as an early, rarely seen film from 1915, showing Monet painting outdoors in his garden.Monet's Water Lilies will reunite the three panels of an exceptionally impressive water lily triptych, created by Monet between 1915 and 1926. The Nelson-Atkins Museum of Art, the Saint Louis Art Museum, and the Cleveland Museum of Art each own one panel of the triptych and the exhibition will offer a rare opportunity to bring the works together. This will be the first time that this reunion has occurred for more than 30 years. With the single exception of a triptych in the Museum of Modern Art, this is the only triptych by Monet in the United States.The exhibition will be on view in Kansas City April 9-August 7, 2011, before traveling to St. Louis. The exhibition will travel to the Cleveland Museum of Art in 2015.

    This is the perfect book for those who want to learn more about the artistic influences of these years. Illustrated in full color throughout.

    This beautifully illustrated book presents sacred images from the 15th and 16th centuries, leading up to two pivotal events in 1563. The Council of Trent, which signified the beginning of the Counter-Reformation, defined requirements that curtailed the freedom of painters and patrons in creating art for churches, while the founding of the Accademia del Disegno in Florence symbolically acknowledged that artists had achieved the status of creators not craftsmen. Marcia B. Hall takes a fresh look at some of the greatest painters of the Italian Renaissance not typically associated with sacred imagery and shows how they navigated their way through the paradox of "limited freedom" to forge a new kind of religious art.

    Hans Holbein, for instance, worked with cosmographers and instrument makers on some of the earliest sundial manuals published; Albrecht Dürer produced the first printed maps of the constellations, which astronomers copied for over a century; and Hendrick Goltzius's depiction of the muscle-bound Hercules served as a study aid for students of anatomy. Prints and the Pursuit of Knowledge in Early Modern Europe features fascinating reproductions of woodcuts, engravings, and etchings; maps, globe gores, and globes; multilayered anatomical "flap" prints; and paper scientific instruments used for observation and measurement. Among the "do-it-yourself" paper instruments were sundials and astrolabes, and the book incorporates a facsimile of globe gores for the reader to cut out and assemble.