Spanning a period of forty years, David Lynch's widely respected films and television series include "Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway," and "Mulholland Drive," However, his prolific visual art production, which began even before his films, has rarely been seen. This catalogue of his artistic output, published on the occasion of a large-scale exhibition at the Fondation Cartier in Paris, covers a wide variety of disciplines: painting, photography, drawings, sculpture, furniture, music, and "moving pictures." His art echoes his films in theme and aesthetic, yet offers viewers a fresh and more intimate glimpse into his singular universe. The book also contains several essays that analyze his artworks, as well as a conversation with Lynch, interviewed within the context of the show. 469 illustrations in color.

    What followed was a whirlwind childhood spent among art and artists in the heyday of Abstract Expressionism. Gabrielle grew up in a home full of the most celebrated artists of the day: Rothko, de Kooning, Tinguely, Giacometti, and Christo, among others.Poignant and candid, Unstill Life is a daughter’s memoir of the art world and a larger-than-life father known to the world as Mr. Modern Art. Selz offers a unique window into the glamour and destruction of the times: the gallery openings, wild parties and affairs that defined one of the most celebrated periods in American art history. Like the art he loved, Selz’s father was vibrant and freewheeling, but his enthusiasm for both women and art took its toll on family life. When her father left MoMA and his family to direct his own museum in California, marrying four more times, Selz’s mother, the writer Thalia Selz, moved with her children into the utopian artist community Westbeth. Her parents continued a tumultuous affair that would last forty years.Weaving her family narrative into the larger story of twentieth-century art and culture, Selz paints an unforgettable portrait of a charismatic man, the generation of modern artists he championed and the daughter whose life he shaped.

    What she found and learned to love was a new life in a beautiful and celebrated Palladian villa in the countryside outside Venice. In Palladian Days, she takes us with her on a journey of discovery and transformation as she and her husband, Carl, become the bemused owners of Villa Cornaro, built in 1552 by the great Renaissance architect Andrea Palladio called by Town & Country one of the ten most influential buildings in the world.Sally Gable writes lovingly of the villa as she and Carl settle in and slowly uncover its history, the lives of its former inhabitants, and its architectural pleasures. She tells of her early days there, learning to speak Italian with the help of her engaging new neighbors in the tiny town that surrounds the villa, Piombino Dese, a place both traditional and busily modern with its old-fashioned street markets and its burgeoning economy.She writes with beguiling humor about learning to take care of a Renaissance palace with its 104 frescoes and 44 pairs of shutters (all of which have to be opened and closed daily). She tells of baffling encounters with the soprintendente di belle arti, who must give permission for even the smallest repair to the Italian national treasure Sally and Carl call home. And she describes the life she and her husband create for the villa itself, allowing it to be used for concerts, ballet performances, even as a movie set.In Palladian Days, we enter with Sally and Carl into their engrossing adventure, following along as they are woven ever more deeply into the fabric of small-town Italy and into its larger national history. Their story will delight travelers and would-be travelers; all who are fascinated by architecture, by art, by the powerful essence of place—and, especially, house-dreamers everywhere.

    Keegan Allen is a Hollywood native, growing up in a world that millions visit and many more imagine. With an avid fan base that follows him on Facebook, Instagram, Twitter, Snapchat, and a busy career that includes seven years on the hit series Pretty Little Liars as well as films directed by James Franco and Gia Coppola, Allen also is a lifelong photographer whose first book, life.love.beauty, was a national bestseller. Now Keegan turns his eye and camera to the place he knows best. Hollywood captures the beauty and glamour of the place itself--with unusual angles of the famous sign, the glint of sidewalk stars stamped into the entrance of the Grauman's TCL Chinese Theater in the rain, the Chateau Marmont at twilight, secret local hideaways, red carpets and more--but also the darker side of dreams unrealized in the faces, hands, eyes, and footsteps of those who live on the fringe of celebrity. His photos are enhanced by revealing, intimate captions, lyrics, and other writing, as well as hand-drawn illustrations, exciting parodies, and iconic emulations. A book that will engage and surprise Keegan's legions of fans and followers, Hollywood is an essential gift for anyone who has visited or imagined this storied place.

    Each chapter, devoted to a color, begins with a short, inspiring essay that explores the qualities, meaning, and symbolism of that color, written in the same warm and lovely voice that guided the reader through "Visions of Earth." Color chapters include photographs that are predominantly blue, orange, green, yellow, purple and red. Smaller sections present images in silver, brown, black, gold, white, and "unseen color"--not seen with the naked eye, such as laser, the universe, and microscopic images. Throughout, interesting quotes and surprising short insights in the captions give the reader an entirely new look at the color in the world around us. Chock full of beautiful, amazing, fun images, this eye-pleasing volume is sure to appeal to a wide variety of people, most especially to women.

    Among them are his most famous works, Knight, Death and Devil; Melencolia I; and St. Jerome in His Study. Also included are portraits of his contemporaries, including Erasmus of Rotterdam and Frederick the Wise, as well as six engravings formerly attributed to Dürer.

    A true "Renaissance man," Lorenzo dazzled contemporaries with his prodigious talents and magnetic personality. Known to history as Il Magnifico (the Magnificent), Lorenzo was not only the foremost patron of his day but also a renowned poet, equally adept at composing philosophical verses and obscene rhymes to be sung at Carnival. He befriended the greatest artists and writers of the time -- Leonardo, Botticelli, Poliziano, and, especially, Michelangelo, whom he discovered as a young boy and invited to live at his palace -- turning Florence into the cultural capital of Europe. He was the leading statesman of the age, the fulcrum of Italy, but also a cunning and ruthless political operative. Miles Unger's biography of this complex figure draws on primary research in Italian sources and on his intimate knowledge of Florence, where he lived for several years. Lorenzo's grandfather Cosimo had converted the vast wealth of the family bank into political power, but from his earliest days Lorenzo's position was precarious. Bitter rivalries among the leading Florentine families and competition among the squabbling Italian states meant that Lorenzo's life was under constant threat. Those who plotted his death included a pope, a king, and a duke, but Lorenzo used his legendary charm and diplomatic skill -- as well as occasional acts of violence -- to navigate the murderous labyrinth of Italian politics. Against all odds he managed not only to survive but to preside over one of the great moments in the history of civilization. Florence in the age of Lorenzo was a city of contrasts, of unparalleled artistic brilliance and unimaginable squalor in the city's crowded tenements; of both pagan excess and the fire-and-brimstone sermons of the Dominican preacher Savonarola. Florence gave birpth to both the otherworldly perfection of Botticelli's Primavera and the gritty realism of Machiavelli's The Prince. Nowhere was this world of contrasts more perfectly embodied than in the life and character of the man who ruled this most fascinating city.

    What time is the 3:00 parade? Why does a child need to be 40 inches tall to ride a roller coaster? What happens when the president of France gets lost inside Pirates of the Caribbean? A former employee, or "cast member", at Walt Disney World's Magic Kingdom answers these and other questions while sharing humorous stories about working inside the world's most popular theme park."Stories from a Theme Park Insider" takes you inside the park's famous tunnels and backstage for a look at how theme parks really work, and the funny moments and embarrassments that can happen when your work is someone else's vacation.

    And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes."In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

    But few guessed at the extent of his scientific investigations and experiments. In a vast collection of notebooks (over 5,000 pages), Leonardo meticulously detailed his research on optics, mechanics, astronomy, and anatomy. He kept his findings hidden for fear his ideas would be stolen. Had they been shared or published, they might well have changed the course of scientific discovery, for they prefigured the work of Newton, Galileo, and Kepler. Instead, after Leonardo's death, his papers were lost to the world for nearly 200 years; some were never recovered. Using newly available documents, Michael White illuminates Leonardo's groundbreaking achievements and weaves together the elements of his life and times-his unhappy childhood, his homosexuality, his relationship with everyone from Machiavelli to Cesare Borgia to Michelangelo. Leonardo: The First Scientist restores to this Renaissance genius the place he deserves in the pantheon of modern discovery About The Author: Michael White is the author of the international best-seller Stephen Hawking: A Life in Science (with John Gribbin), the award-winning Isaac Newton: the Last Sorcerer, Life Out There, and Weird Science . He is currently working on a book about scientific rivalry from Newton to Bill Gates. White lives with his wife and family near London.

    Thus began the romance of the most dynamic, productive and famous couple in American art. 8 pages of full-color photographs; 40 black-and-white photographs.

    But a courageous and visionary young woman-Katharine Kuh-defied the odds and opened a gallery in Chicago, where she exhibited such relatively unknown artists as Fernand L ger, Paul Klee, Joan Mir, Ansel Adams, Marc Chagall, and Alexander Calder, to name but a few. Not only did Kuh survive these rocky early years but most of the artists became increasingly famous. In 1954, the Art Institute of Chicago named her its first curator of modern painting and sculpture. Kuh's prestigious position at the museum led to friendships with Marcel Duchamp, Mark Rothko, Mies van der Rohe, and Edward Hopper. In writing her memoir, she hoped to offer intimate portraits of these luminaries and contribute to a fuller understanding of their achievements. Her book also reveals how and why America became a major force in the world of contemporary art.After Katharine Kuh's death, Avis Berman-noted art historian and Kuh's close friend and literary executor-selected, edited, and completed her writings for this book.

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

    In Face Paint, Lisa Eldridge reveals the entire history of the art form, from Egyptian and Classical times up through the Victorian age and golden era of Hollywood, and also surveys the cutting-edge makeup science of today and tomorrow. Face Paint explores the practical and idiosyncratic reasons behind makeup’s use, the actual materials employed over generations, and the glamorous icons that people emulate and how they achieved their effects. An engaging history of style, it is also a social history of women and the ways in which we can understand their lives through the prism and impact of makeup.

    My story begins not with my birth but a murder, committed the year before I was born…"*****Florence****, April 1478:** The handsome Giuliano de' Medici is brutally assassinated in Florence's magnificent Duomo. The shock of the murder ripples throughout the great city, from the most renowned artists like Leonardo da Vinci and Michelangelo, to a wealthy wool merchant and his extraordinarily beautiful daughter, Madonna Lisa.More than a decade later, Florence falls under the dark spell of the preacher Savonarola, a fanatic who burns paintings and books as easily as he sends men to their deaths. Lisa, now grown into an alluring woman, captures the heart of Giuliano's nephew and namesake. But when Guiliano, her love, meets a tragic end, Lisa must gather all her courage and cunning to untangle a sinister web of illicit love, treachery, and dangerous secrets that threatens her life.Set against the drama of 15th Century Florence, *I, Mona Lisa* is painted in many layers of fact and fiction, with each intricately drawn twist told through the captivating voice of Mona Lisa herself.**