His work in etching spanned most of his career and embraced the wide range of subjects he pursued in his painting: portraits, landscapes, biblical scenes, pictures with allegorical and mythological themes, and more. This comprehensive collection contains Rembrandt's complete etchings — over 300 works — shown in their original size. They have been reproduced directly from a rare collection famed for its pristine condition, fresh, clean impressions, rich contrasts, and brilliant printing. Among the etchings included are: Self portrait drawing at a window (1648); Abraham's sacrifice (1655); Christ preaching ["The undered-guilder print"] (ca. 1643–49); Christ crucified between the two thieves ["The three crosses"] (1653); The return of the prodigal son (1636); The three trees (1643); Faust (ca. 1652); Jan Six (1647); The great Jewish bride (1635); The strolling musicians (ca. 1635). The etchings are reproduced in their actual size rather than from reduced photographs, which can depart significantly in quality from the originals. This handsome volume is filled with information critical to fully appreciating the extraordinary images it contains. Detailed captions point out features of special interest and provide vital information such as title, signature, date, collection, Bartsch number, state of impression reproduced, and total number of states. Also included are a chronology of Rembrandt's life and etchings, a discussion of the technique of etching in his time, and an excellent bibliography. Art lovers, scholars, students of etching, and anyone with an interest in Rembrandt and his work will find in this beautiful book a rare and exciting visual experience.

    One such institution is the museum, particularly the history museum, which, much like a history book, is popularly perceived as a repository of truth. But as Mining the Museum, a book based on the award-winning collaboration between The Contemporary, The Maryland Historical Society, and installation artist Fred Wilson illustrates, museums are not neutral places.

    It includes paintings, sculptures, drawings, decorative arts, architecture and photography. Manet's "Luncheon on the Grass" and Van Gogh's "Dr. Gahet" are two of the paintings in the collection.

    Yet fifty years later the first museums of natural history had appeared in Italy, dedicated to the marvels of nature. Italian patricians, their curiosity fueled by new voyages of exploration and the humanist rediscovery of nature, created vast collections as a means of knowing the world and used this knowledge to their greater glory.Drawing on extensive archives of visitors' books, letters, travel journals, memoirs, and pleas for patronage, Paula Findlen reconstructs the lost social world of Renaissance and Baroque museums. She follows the new study of natural history as it moved out of the universities and into sixteenth- and seventeenth-century scientific societies, religious orders, and princely courts. Findlen argues convincingly that natural history as a discipline blurred the border between the ancients and the moderns, between collecting in order to recover ancient wisdom and the development of new textual and experimental scholarship. Her vivid account reveals how the scientific revolution grew from the constant mediation between the old forms of knowledge and the new.

    Departing from the traditional definition of public art as sculpture in parks and plazas, new genre public art brings artists into direct engagement with audiences; definitive collection of writings on the subject.[art][current events][culture]

    Now, a guide from the nation's premier letter-writing tutor--direct mail expert Mal Warwick--shows fundraisers what makes the best letters work. Whether its general advice about the most effective mail strategies, or specific advice for those interested in the details of a direct mail campaign, Warwick keeps fundraisers on track when he reminds: "You're writing for results--not a Pulitzer Prize." In How to Write Successful Fundraising Letters, Warwick's step-by-step model for writing a successful appeal walks you through the critical stages; his topics range from laying the groundwork for a prosperous campaign all the way through to the importance of thanking donors. Supported by an extensive collection of model letters, Warwick's no-nonsense, jargon-free work has helped thousands of fundraisers achieve results.Read a review written by Charity Channel Founder/CEO Stephen C. Nill:http: //charitychannel.com/publish/templates/...

    Grounded in the solid strengths of its first edition, this updated and revised second edition, collates recent and important articles that address the relationships of museums and galleries to their audiences.The Educational Role of the Museum has been entirely restructured and new papers have been added which make this an up-to-date presentation of front-running theory and practice.Covering broad themes relevant to providing for all museum visitors, and also focusing specifically on educational groups, the book is set in four sections which sequentially:chart the development of museum communication relate constructivist learning theory to specific audiences with different learning needs apply this learning theory to the development of museum exhibitions pose questions about the way museums conceptualize audiences.For any student of museum studies, and for professionals too, this book fuses theory with practice in a way that can only serve to enhance their knowledge of the field.

    Over 800 color plates. Boxed.

    When two paintings hanging across from each other in a museum fall in love, a resourceful art student finds a way to unite the lovers.

    As Gerard Regnier, the museum's director, notes in his informative introduction, "The magic of the Musee Picasso also stems from the silent dialogue between the work and the place-one of the most beautiful townhouses in Paris." Perhaps no artist in the entire history of art has proven more compelling than Picasso, and the museum dedicated to his life's work has attracted vast crowds from the moment it opened. This dazzling little volume encompasses every aspect of his own work in all media-painting, sculpture, collages, ceramics, sculptures, and drawings-as well as the work by other artists in his impressive personal collection. Other Details: 300 full-color illustrations 320 pages 4 x 4" Published 1999would be comprehensive. In addition, some other pieces have been distributed to various French museums. As a result, French collections of Picasso's work now complement each other amazingly well, and they in turn are complemented by the Museo Picasso in Barcelona. But the Musee Picasso remains the artist's "studio," and, as Roland Penrose once said, an "alchemist's laboratory would look dull in comparison." Following the death of the painter's last wife, Jacqueline, a second dation took place in 1990. This time the choice was made to strengthen the collection by adding forty-seven paintings, two sculptures, about forty drawings, twenty-four sketchbooks, nineteen ceramics, two hundred forty-five prints and lithographs, and one papier colle by Georges Braque. The museum's imposing gallery of portraits reaches its zenith with the 1954 Jacqueline with Crossed Hands (page 113). The twenty-four sketchbooks (six of which had been previously unknown) comprise eleven hundred leaves, allowing one to retrace a creative process as it developed over the course of eighty years. Some pieces from this second dation were deposited in twenty-one museums outside Paris, as well as at the Musee National d'Art Moderne, the Department of Prints of the Bibliothèque Nationale, and the Musee de Sèvres—all in Paris. In addition, the Musee National d'Art Moderne made a long-term loan to the Musee Picasso of Portrait of Gustave Coquiot; a large gouache, Three Dutch Girls; and some pieces given to the State by Michel and Louise Leiris in 1984, including the 1914 sculpture Glass of Absinthe and the 1955 portrait Jacqueline in Turkish Costume. The Musee Picasso has also received bequests from individuals, such as Three Figures under a Tree of 1906-7, donated in 1986 by the heir of Douglas Cooper, and among the manuscripts, Picasso's 1915 letter to Andre Salmon (page 240). It also purchased some pieces, such as Composition with Butterfly of 1932 (page 147), so beloved by the Surrealist Andre Breton, and Portrait of Apollinaire with Bandaged Head (page 244), formerly in the poet's estate. D. H. Kahnweiler bequeathed Still Life with a Razor Strop of 1909. Celestina (page 24), a major milestone of the Blue Period, was added to the museum's collection in 1990, as a result of negotiations with the collector Fredrik Roos. The Musee Picasso thus displays an abundance of works; the few missing aspects of the artist's career are represented by allusion or by substitution. For example, since the museum does not own any large Cubist compositions, it retraces the stages of Cubism by using smaller works and drawings combined with collages, such as the famous Still Life with Chair Caning (page 38). Generally speaking, the paintings of the Blue and Rose periods are not well represented but works from the 1920s and 1930s abound, and the second dation balanced the collection through a massive representation of paintings from the latter period. The papiers colles and the constructions are the true strength of the museum for the Cubist period of 1912-15. The same is true for the relief paintings: the museum has the most complete collection of this type of object, missing pieces only from 1937-38. Picasso kept all of his sculptures, and thus their importance within his oeuvre has been acknowledged only recently. The museum's collection is unequaled: it owns practically all of the artist's unique pieces. The 1907 Head of a Man (page 154), from the second dation, allowed the completion of the period immediately preceding Cubism. As for ceramics, all eighty-eight pieces of the first dation are unique. Finally, the drawings at the Musee Picasso form an exceptional ensemble (with a few gaps in the period after 1956): these are the works par excellence with which the artist never parted. Once again, the curators decided to "retain the large compositions and not to break up the ensembles," according to Dominique Bozo. Of his printed work, Picasso had kept all the single prints and all the prints published in limited editions. The museum owns the preparatory states, the engraved copper plates and all the final plates for the Vollard Series (donated by Roger and Madeleine Lacourière) and the model for Song of the Dead by Pierre Reverdy. The second dation, notably, brought in two sketchbooks for Les Demoiselles d'Avignon and a number of studies for Three Women. The magic of the Musee Picasso also stems from the silent dialogue between the work and the place—the Hôtel Sale, one of the most beautiful townhouses in the Marais section of Paris. Each enhances the other through subtle correspondences—appropriately, since Picasso had always lived in old houses. The Hôtel Sale was built in 1656-59 for Pierre Aubert, a salt-tax collector (hence the building's nickname, Hôtel Sale or "salted house"). In its current state, beautifully renovated by the architect Roland Simounet, it offers a multitude of different period styles. The magnificent central staircase was decorated by Gaspard and Balthasar Marsy, brothers who also worked at Versailles, and by Martin Desjardins. Later, when the building was chosen to house the Picasso collection, Diego Giacometti was commissioned to complete part of the decoration, including the chandeliers and the furnishing of the galleries. The architecture has dictated the itinerary inside the museum—at times chronological, at other times thematic, with the garden used to display a few sculptures. The result is that the Hôtel Sale has become a museum fit for what Gaëton Picon called "the Picasso civilization, that Louvre from another planet." Author Biography: Gerard Regnier is director of the Musee Picasso.

    Each letter of the alphabet is accompanied by a phrase and famous piece of art, from aristocrat to Zen via Rousseau's jungle cat and Egyptian cat sculpture.

    The region's weavers evolved the distinctive styles and patterns found in Saltillo and Vallero blankets, weft ikat, handspun cotton blankets, jerga floor coverings, and colcha embroidery.