In this novel of a couple, and of passion, betrayal, and art, Georgia comes alive as never before. By the writer whose work Edna O’Brien called "shimmering, audacious."Georgia O’Keeffe is a young woman, painting and teaching art in Texas, when she travels to New York to meet Alfred Stieglitz, the married gallery owner of 291, modern art promoter, and photographer. Their instantaneous attraction and powerful hunger for each other draw her into his world of art, sex, and passion, and she becomes his mistress and his muse. As their relationship develops, so does Georgia’s place in the art world, but she becomes trapped in her role as the subject of Stieglitz’s infamous nude photographs of her; the critics cannot envision her as her own being. As her own artistic fervor begins to push the boundaries of her life, we see Georgia transform into the powerfully independent woman she is known as today.

    This richly illustrated and expert study follows the artist from the early gloom-laden paintings in which he captured the misery of peasants and workers in his homeland, through his bright and colorful Parisian period, to the work of his final years, spent under a southern sun in Arles.

    She married the writer Laurence Vail and joined the American expatriate bohemian set. Though her many lovers included such lions of art and literature as Samuel Beckett, Max Ernst (whom she later married), Yves Tanguy, and Roland Penrose, real love always seemed to elude her.In the late 1930s, Peggy set up one of the first galleries of modern art in London, quickly acquiring a magnificent selection of works, buying great numbers of paintings from artists fleeing to America after the Nazi invasion of France. Escaping from Vichy, she moved back to New York, where she was a vital part of the new American abstract expressionist movement.Meticulously researched, filled with colorful incident, and boasting a distinguished cast, Anton Gill's biography reveals the inner drives of a remarkable woman and indefatigable patron of the arts.

    This was, without doubt, the most celebrated cohabitation in art history: never, before or since have two such towering artistic talents been penned up in so small a space. They were the Odd Couple of art history. Predictably, the results were explosive. The dâenouement of their life together has entered into folklore. Two months after Gauguin arrived in Arles, Van Gogh suffered a psychological crisis. He spent most of the rest of his life in a mental institution. Gauguin fled from Arles, and they never saw each other again. But in the brief period during which they worked together a stream of masterpieces was created within the studio they shared. Here, for the first time, the full story of their life together is told.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    In the thirties and forties, along with Arshile Gorky and Jackson Pollock, he became a key figure in the revolutionary American movement of abstract expressionism. Of all the painters in that group, he worked the longest and was the most prolific, creating powerful, startling images well into the 1980s.The first major biography of de Kooning captures both the life and work of this complex, romantic figure in American culture. Ten years in the making, and based on previously unseen letters and documents as well as on hundreds of interviews, this is a fresh, richly detailed, and masterful portrait. The young de Kooning overcame an unstable, impoverished, and often violent early family life to enter the Academie in Rotterdam, where he learned both classic art and guild techniques. Arriving in New York as a stowaway from Holland in 1926, he underwent a long struggle to become a painter and an American, developing a passionate friendship with his fellow immigrant Arshile Gorky, who was both a mentor and an inspiration. During the Depression, de Kooning emerged as a central figure in the bohemian world of downtown New York, surviving by doing commercial work and painting murals for the WPA. His first show at the Egan Gallery in 1948 was a revelation. Soon, the critics Harold Rosenberg and Thomas Hess were championing his work, and de Kooning took his place as the charismatic leader of the New York school—just as American art began to dominate the international scene.Dashingly handsome and treated like a movie star on the streets of downtown New York, de Kooning had a tumultuous marriage to Elaine de Kooning, herself a fascinating character of the period. At the height of his fame, he spent his days painting powerful abstractions and intense, disturbing pictures of the female figure—and his nights living on the edge, drinking, womanizing, and talking at the Cedar bar with such friends as Franz Kline and Frank O’Hara. By the 1960s, exhausted by the feverish art world, he retreated to the Springs on Long Island, where he painted an extraordinary series of lush pastorals. In the 1980s, as he slowly declined into what was almost certainly Alzheimer’s, he created a vast body of haunting and ethereal late work.This is an authoritative and brilliant exploration of the art, life, and world of an American master.

    Rich in surprising encounters and vivid characters, Between East and West brilliantly illuminates the soul of these lands and the shaping power of their past.

    But she was gone and he was old. Nearly seventy. Only cool paint met his fingers. “Ma très chère . . .” Darkness started to fall, dimming the paintings. He felt the crumpled letter in his pocket. “I loved you so,” he said. “I never would have had it turn out as it did. You were with all of us when we began, you gave us courage. These gardens at Giverny are for you but I’m old and you’re forever young and will never see them. . . .”  In the mid-nineteenth century, a young man named Claude Monet decided that he would rather endure a difficult life painting landscapes than take over his father’s nautical supplies business in a French seaside town. Against his father’s will, and with nothing but a dream and an insatiable urge to create a new style of art that repudiated the Classical Realism of the time, he set off for Paris. But once there he is confronted with obstacles: an art world that refused to validate his style, extreme poverty, and a war that led him away from his home and friends. But there were bright spots as well: his deep, enduring friendships with men named Renoir, Cézanne, Pissarro, Manet – a group that together would come to be known as the Impressionists, and that supported each other through the difficult years. But even more illuminating was his lifelong love, Camille Doncieux, a beautiful, upper-class Parisian girl who threw away her privileged life to be by the side of the defiant painter and embrace the lively Bohemian life of their time.  His muse, his best friend, his passionate lover, and the mother to his two children, Camille stayed with Monet—and believed in his work—even as they lived in wretched rooms, were sometimes kicked out of those, and often suffered the indignities of destitution. She comforted him during his frequent emotional torments, even when he would leave her for long periods to go off on his own to paint in the countryside. But Camille had her own demons – secrets that  Monet could never penetrate, including one that when eventually revealed would pain him so deeply that he would never fully recover from its impact. For though Camille never once stopped loving the painter with her entire being, she was not immune to the loneliness that often came with being his partner.  A vividly-rendered portrait of both the rise of Impressionism and of the artist at the center of the movement, Claude and Camille is above all a love story of the highest romantic order.

    These beautifully produced, pocket-sized books will provide exactly what is missing in ordinary travel guides: insights and imagination that lead the reader into those parts of a city no other guide can reach.A flaneur is a stroller, a loiterer, someone who ambles through a city without apparent purpose but is secretly attuned to the history of the place and in covert search of adventure, esthetic or erotic. Edmund White, who lived in Paris for sixteen years, wanders through the streets and avenues and along the quays, taking us into parts of Paris virtually unknown to visitors and indeed to many Parisians. Entering the Marais evokes the history of Jews in France, just as a visit to the Haynes Grill recalls the presence-festive, troubled-of black Americans in Paris for a century and a half. Gays, Decadents, even Royalists past and present are all subjected to the flaneur's scrutiny. Edmund White's The Flaneur is opinionated, personal, subjective. As he conducts us through the bookshops and boutiques, past the monuments and palaces, filling us in on the gossip and background of each site, he allows us to see through the blank walls and past the proud edifices and to glimpse the inner, human drama. Along the way he recounts everything from the latest debates among French law-makers to the juicy details of Colette's life in the Palais Royal, even summoning up the hothouse atmosphere of Gustave Moreau's atelier.

    Air Guitar pioneered a kind of plain-talking in cultural criticism, willingly subjective and always candid and direct. A valuable reading tool for art lovers, neophytes, students and teachers alike, Hickey's book--now in its eighth printing--has galvanized a generation of art lovers, with new takes on Norman Rockwell, Robert Mapplethorpe, Stan Brakhage, Andy Warhol and Perry Mason. In June 2009, Newsweek voted Air Guitar one of the top 50 books that "open a window on the times we live in, whether they deal directly with the issues of today or simply help us see ourselves in new and surprising ways," and described the book as "a seamless blend of criticism, personal history, and a deep appreciation for the sheer nuttiness of American life."Dave Hickey (born 1939) is one of today's most revered and widely read art writers. He has written for Rolling Stone, Art News, Art in America, Artforum and Vanity Fair among many others.

    Among his renowned portraits, "The Daughters of Edward Darley Boit" stands alongside "Madame X" and "Lady Agnew of Lochnaw" as one of Sargent's immortal images. This painting depicts four young sisters in the spacious foyer of the family's Paris apartment, strangely dispersed across the murky tones and depths of the square canvas, as though unrelated to one another, unsettled and unsettling to the eye. "The Daughters" both affirms and defies convention, flouting the boundaries between portrait and genre scene, formal composition and quick sketch or snapshot. Unveiled at the Paris Salon of 1883, it predated by just two years the scandal of "Madame X" and was itself characterized by one critic as "four corners and a void"; but Henry James came closer to the mark when he described the painter as a "knock-down insolence of talent," for few of Sargent's works embody the epithet as well as "The Daughters of Edward Darley Boit." Drawing on numerous unpublished archival documents, scholar Erica E. Hirshler excavates all facets of this iconic canvas, discussing not only its significance as a work of art but also the figures and events involved in its making, its importance for Sargent's career, its place in the tradition of artistic patronage and the myriad factors that have contributed to its lasting popularity and relevance. The result is an aesthetic, philosophical and personal tour de force that will change the way you look at Sargent's work, and that both illuminates an iconic painting and reaffirms its pungent magnetism.

    Increasingly fascinated by this most shameful of experiences, she began to explore the lonely city by way of art. Moving fluidly between works and lives -- from Edward Hopper's Nighthawks to Andy Warhol's Time Capsules, from Henry Darger's hoarding to the depredations of the AIDS crisis -- Laing conducts an electric, dazzling investigation into what it means to be alone, illuminating not only the causes of loneliness but also how it might be resisted and redeemed.

    In the 1st edition, published in 1962, he spoke to that perennial reader he gently called "the troubled layman." His opening paragraph revealed his sympathy: "Why is this supposed to be art?" he quoted rhetorically. "How often have we heard this question asked--or asked it ourselves, perhaps--in front of one of the strange, disquieting works that we are likely to find nowadays in the museum or art exhibition?" Keeping that curious, questioning perspective in mind, he wrote a history of art from cave painting to Picasso that was singularly welcoming, illuminating & exciting. Sojourning thru this book, a reader is offered every amenity for a comfortable trip. Because he never assumes knowledge on the part of the reader, a recent immigrant from Mars could comprehend Western art from this text. The only assumption the Jansons have made is that with a little guidance everyone can come to understand the artifacts that centuries of architecture, sculpture, design & painting have deposited in our paths. Countless readers have proven the Jansons right & found their lives enriched in the process.

    At times a painter, sculptor, inventor, draftsman, and anatomist, Leonardo's life cannot easily be summarized. And yet, Nicholl skillfully traces the artist's early days as an illegitimate child in Tuscany; his apprenticeship with Verrocchio in Florence; his service with some of the most powerful Renaissance families; his relationships with Michelangelo and Machiavelli; and his final days at the French royal court. In addition, Nicholl looks beyond the well-known stories of Leonardo's famous masterpieces, and gives us a glimpse into the artist's everyday life. We learn of Leonardo's penchant for jokes, his fascination with flight, his obsessive note making, and even what he ate. Nicholl weaves these details together in a fascinating portrait that goes far towards revealing the enigmatic figure who continues to fascinate present-day readers.

    From the Nazi purges of 'degenerate art' and Goering's shopping sprees in occupied Paris to the perilous journey of the 'Mona Lisa' from Paris and the painstaking reclamation of the priceless treasures of liberated Italy, The Rape of Europa is a sweeping narrative of greed, philistinism, and heroism that combines superlative scholarship with a compelling drama.The cast of characters includes Hitler and Goering, Gertrude Stein and Marc Chagall--not to mention works by artists from Leonardo da Vinci to Pablo Picasso.