From how to look at works by great masters to explaining key movements, styles, and techniques, this monumental book is the quintessential visual guide to more than 2,500 of the world's most revered paintings and sculptures.DK

    With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns. With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya s development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life. In a work that is at once interpretive biography and cultural epic, Hughes grounds Goya firmly in the context of his time, taking us on a wild romp through Spanish history; from the brutality and easy violence of street life to the fiery terrors of the Holy Inquisition to the grave realities of war, Hughes shows us in vibrant detail the cultural forces that shaped Goya s work. Underlying the exhaustive, critical analysis and the rich historical background is Hughes s own intimately personal relationship to his subject. This is a book informed not only by lifelong love and study, but by his own recent experiences of mortality and death. As such this is a uniquely moving and human book; with the same relentless and fearless intelligence he has brought to every subject he has ever tackled, Hughes here transcends biography to bring us a rich and fiercely brave book about art and life, love and rage, impotence and death. This is one genius writing at full capacity about another and the result is truly spectacular.

    The Devil and Dr. Barnes traces the near-mythical journey of a man who was born into poverty, amassed a fortune through the promotion of a popular medicine, and acquired the premier private collection of works by such masters as Renoir, Matisse, Cézanne, and Picasso. Ostentatiously turning his back on the art establishment, Barnes challenged the aesthetic sensibilities of an uninitiated, often resistant and scoffing, American audience. In particular, he championed Matisse, Soutine, and Modigliani when they were obscure or in difficult straits. Analyzing what he saw as the formal relationships underlying all art, linking the old and the new, Barnes applied these principles in a rigorous course of study offered at his Merion foundation. Barnes's own mordant words, culled from the copious printed record, animate the narrative throughout, as do accounts of his associations with notables of the era--Gertrude and Leo Stein, Bertrand Russell, and John Dewey among them--many of whom he alienated with his appetite for passionate, public feuds. In this rounded portrait, Albert Barnes emerges as a complex, flawed man, who--blessed with an astute eye for greatness--has left us an incomparable treasure, gathered in one place and unforgettable to all who have seen it.

    He was fortunate to have been taught to read by his slave owner mistress, and he would go on to become one of the major literary figures of his time. His very existence gave the lie to slave owners: with dignity and great intelligence he bore witness to the brutality of slavery.Initially mentored by William Lloyd Garrison, Douglass spoke widely, using his own story to condemn slavery. By the Civil War, Douglass had become the most famed and widely travelled orator in the nation. In his unique and eloquent voice, written and spoken, Douglass was a fierce critic of the United States as well as a radical patriot. After the war he sometimes argued politically with younger African Americans, but he never forsook either the Republican party or the cause of black civil and political rights.In this biography, David Blight has drawn on new information held in a private collection that few other historian have consulted, as well as recently discovered issues of Douglass’s newspapers.

    After being freed at the age of 57, she begins a tireless search for her only remaining family member, her daughter Eliza Jane. What Clara accomplishes in her 28 years of freedom will simply astound you! I first wrote about Clara Brown in my book Unbreakable Dolls, Too. This single story eBook is the expanded version, with much more information and 9 photos.

     Who’d be a copper? follows Jonathan Nicholas in his transition from a long-haired world traveller to becoming one of ‘Thatcher’s army’ on the picket lines of the 1984 miner’s dispute and beyond. His first years in the police were often chaotic and difficult, and he was very nearly sacked for not prosecuting enough people. Working at the sharp end of inner-city policing for the entire thirty years, Jonathan saw how politics interfered with the job; from the massaging of crime figures to personal petty squabbles with senior officers. His last ten years were the oddest, from being the best cop in the force to repeatedly being told that he faced dismissal. This astonishing true story comes from deep in the heart of British inner-city policing and is a revealing insight into what life is really like for a police officer, amid increasing budget cuts, bizarre Home Office ideas and stifling political correctness. “I can write what I like, even if it brings the police service into disrepute, because I don’t work for them anymore!” says Jonathan Nicholas. Who’d be a copper? is a unique insight into modern policing that will appeal to fans of autobiographies, plus those interested in seeing what really happens behind the scenes of the UK police."I HAVE BOUGHT YOUR BOOK."  TW,  Sir Thomas Winsor, WS HMCIC"A WEALTH OF ANECDOTES. FASCINATING." John Donoghue, author of 'Police, Crime & 999'"AN ILLUMINATING ACCOUNT OF LIFE AS A FRONT LINE OFFICER IN BRITAIN'S POLICE, A SERVICE OFTEN STRETCHED FOR RESOURCES BUT MIRED IN RED TAPE AND POLITICAL CORRECTNESS."  Pat Condell, author of 'Freedom is My Religion'

    Art as Therapy is packed with 150 examples of outstanding art, with chapters on Love, Nature, Money, and Politics outlining how these works can help with common difficulties. For example, Vermeer's Girl Reading a Letter helps us focus on what we want to be loved for; Serra's Fernando Passoa reminds us of the importance of dignity in suffering; and Manet's Bunch of Asparagus teaches us how to preserve and value our long-term partners.De Botton demonstrates how art can guide and console us, and along the way, help us to better understand both art and ourselves.

    Stewart offers the definitive biography of the father of the Harlem Renaissance, based on the extant primary sources of his life and on interviews with those who knew him personally. He narrates the education of Locke, including his becoming the first African American Rhodes Scholar and earning a PhD in philosophy at Harvard University, and his long career as a professor at Howard University. Locke also received a cosmopolitan, aesthetic education through his travels in continental Europe, where he came to appreciate the beauty of art and experienced a freedom unknown to him in the United States. And yet he became most closely associated with the flowering of Black culture in Jazz Age America and his promotion of the literary and artistic work of African Americans as the quintessential creations of American modernism. In the process he looked to Africa to find the proud and beautiful roots of the race. Shifting the discussion of race from politics and economics to the arts, he helped establish the idea that Black urban communities could be crucibles of creativity. Stewart explores both Locke's professional and private life, including his relationships with his mother, his friends, and his white patrons, as well as his lifelong search for love as a gay man.Stewart's thought-provoking biography recreates the worlds of this illustrious, enigmatic man who, in promoting the cultural heritage of Black people, became -- in the process -- a New Negro himself.

    Now, in The Organ Thieves, Pulitzer Prize-nominated journalist Chip Jones exposes the horrifying inequality surrounding Tucker's death and how he was used as a human guinea pig without his family's permission or knowledge. The circumstances surrounding his death reflect the long legacy of mistreating African Americans that began more than a century before with cadaver harvesting and worse. It culminated in efforts to win the heart transplant race in the late 1960s.

    Sanjay Gandhi is dead under unexpected, tragic circumstances; not many years later, Indira Gandhi is assassinated; Rajiv Gandhi, ‘the reluctant politician’, abruptly becomes India’s Prime Minister.Pranab Mukherjee was witness to (and, sometimes, a participant in) the momentous events of the 1980s and the 1990s, a period that was indisputably the most turbulent in India’s post-Independence history. An insider, he sheds new light on every major political occurrence of the time—from Rajiv Gandhi’s ascendance as India’s Prime Minister to the emergence of P.V. Narasimha Rao as the leader of a nation; from Operation Blue Star to the Babri Masjid fiasco.Equally, Mukherjee is candid about each of the professional crises that marked this period of his career—the rumours that he wanted to elbow aside Rajiv Gandhi for the top post; the possible reasons for his ouster from Rajiv’s Cabinet and, later, the party; and the allegation that he aided and abetted the Left by not imposing President’s rule in West Bengal and Tripura in the late 1980s.The second volume of Mukherjee’s autobiography is not only an honest account of his years in power (and in the wilderness), but also a cogent analysis of the political and social turning points of a key period in the evolution of modern India.

    With Roger Miret as front man, legendary band Agnostic Front’s focused fury and aggression defined the times and continue to resonate today.Born in Cuba, Roger Miret fled with his family to the US to escape the Castro regime. Through vivid language and graphic details, Miret recounts growing up in a strange new land with a tyrannical, abusive stepfather and the roles that poverty and violence played in shaping the toughness that became critical to his survival. In his teen years, he finds himself squatting in abandoned buildings with other runaways and victims of similar childhood trauma. Soon he becomes a respected and feared kingpin of the scene, and a protector of its misfits and outcasts.Miret’s gripping memoir is a testament to the perils of growing up too young too fast and finding redemption through sheer strength, perseverance, and courage.Roger Miret is the godfather of the New York hardcore scene. He joined Agnostic Front in 1982. Jon Wiederhorn is the co-author of Louder Than Hell: The Definitive Oral History of Metal, Ministry (with Al Jourgensen), and I’m the Man (with Scott Ian). He has written for Revolver, Rolling Stone, and SPIN, among others.

    is so guilty for past transgressions that it deserves to be chastened on the world stage. As David Horowitz shows in this no holds barred pamphlet, minimizing the Islamist threat to the United States is not an oversight of the Obama administration; it is policy. The most dangerous Islamist regime, Iran, is being allowed to acquire nuclear weapons while Washington dithers over pointless negotiations and stands by as the mullahs fill the vacuum in Iraq created by the withdrawal of all American forces, against the advice of the Joint Chiefs of Staff. In Afghanistan, supposedly the "good war," victory is not an option; the Taliban licks its chops and waits for American troops to leave in ignominy. Meanwhile, this White House has facilitated the rise of the Muslim Brotherhood throughout the Middle East, helping it come to power in Cairo, bankrolling it and giving it F-16s that are likely someday to be used against Israel, and displayed weakness in Syria by ignoring "red lines" it said would never be crossed. It is a low point for America, as David Horowitz shows, with Republicans, traditionally the party of strong national security, offering only an echo, not a choice in American foreign policy, watching in a state of policy paralysis as Obama appeases our enemies and enables their evil ambitions.

    This monumental biography--eight years in the research and writing--treats the early and middle phases of a long and intense career: a crucial fifty-year period that demonstrates how Du Bois changed forever the way Americans think about themselves.

    This passionate, often surprising, intimate record, kept under lock and key for some forty years in Mexico, reveals many new dimensions in the complex persona of this remarkable Mexican artist.Covering the years 1944-45, the 170-page journal contains Frida's thoughts, poems, and dreams, and reflects her stormy relationship with her husband, Diego Rivera, Mexico's famous artist. The seventy watercolor illustrations in the journal - some lively sketches, several elegant self-portraits, others complete paintings - offer insights into her creative process, and show her frequently using the journal to work out pictorial ideas for her canvases.The text entries, written in Frida's round, full script in brightly colored inks, add an almost decorative quality, making the journal as captivating to look at as it is to read. Frida's childhood, her political sensibilities, and her obsession with Diego are all illuminated in witty phrases and haunting images.Although much has been written recently about this extraordinary woman, Frida Kahlo's art and life continue to fascinate the world. This personal document, published in a complete full-color facsimile edition, will add greatly to the understanding of her unique and powerful vision and her enormous courage in the face of more than thirty-five operations to correct injuries she had sustained in an accident at the age of eighteen. The facsimile is accompanied by an introduction by the world-renowned Mexican man of letters Carlos Fuentes and a complete translation of the diary's text. An essay on the place of the diary in Frida's work and in art history at large, as well as commentaries on the images, is provided by Sarah M. Lowe.

    Jackson's letters make palpable the intense feelings of anger and rebellion that filled black men in America's prisons in the 1960s. But even removed from the social and political firestorms of the 1960s, Jackson's story still resonates for its portrait of a man taking a stand even while locked down.