The present volume is an unabridged English translation of the 13th French edition of that historic manifesto, in which Le Corbusier expounded his technical and aesthetic theories, views on industry, economics, relation of form to function, the "mass-production spirit," and much else. A principal prophet of the "modern" movement in architecture, and a near-legendary figure of the "International School," he designed some of the twentieth century's most memorable buildings: Chapel at Ronchamp; Swiss dormitory at the Cité Universitaire, Paris; Unité d'Habitation, Marseilles; and many more.Le Corbusier brought great passion and intelligence to these essays, which present his ideas in a concise, pithy style, studded with epigrammatic, often provocative, observations: "American engineers overwhelm with their calculations our expiring architecture." "Architecture is stifled by custom. It is the only profession in which progress is not considered necessary." "A cathedral is not very beautiful . . ." and "Rome is the damnation of the half-educated. To send architectural students to Rome is to cripple them for life."Profusely illustrated with over 200 line drawings and photographs of his own works and other structures he considered important, Towards a New Architecture is indispensable reading for architects, city planners, and cultural historians―but will intrigue anyone fascinated by the wide-ranging ideas, unvarnished opinions, and innovative theories of one of this century's master builders.

    . .Rome, 1520. The Eternal City is in mourning. Raphael Sanzio, beloved painter and national hero, has died suddenly at the height of his fame. His body lies in state at the splendid marble Pantheon. At the nearby convent of Sant'Apollonia, a young woman comes to the Mother Superior, seeking refuge. She is Margherita Luti, a baker's daughter from a humble neighborhood on the Tiber, now an outcast from Roman society, persecuted by powerful enemies within the Vatican. Margherita was Raphael's beloved and appeared as the Madonna in many of his paintings. Theirs was a love for the ages. But now that Raphael is gone, the convent is her only hope of finding an honest and peaceful life.The Mother Superior agrees to admit Margherita to their order. But first, she must give up the ruby ring she wears on her left hand, the ring she had worn in Raphael's scandalous nude "engagement portrait." The ring has a storied past, and it must be returned to the Church or Margherita will be cast out into the streets. Behind the quiet walls of the convent, Margherita makes her decision . . . and remembers her life with Raphael--and the love and torment--embodied in that one precious jewel.In The Ruby Ring, Diane Haeger brings to life a love affair so passionate that it remains undimmed by time. Set in the sumptuous world of the Italian Renaissance, it's the story of the clergymen, artists, rakes, and noblemen who made Raphael and Margherita's world the most dynamic and decadent era in European history.

    It looks at French religious art in the Middle Ages, its forms, and especially the Eastern sources of sculptural iconography used in the cathedrals of France. Fully illustrated with many footnotes it acts as a useful guide for the student of Western culture.

    The author retraces Michelangelo's journey from Rome to Florence, explores his changing religious views and examines the complicated politics of patronage in Renaissance Italy. The psychological portrait of Michelangelo is constantly foregrounded, depicting with great conviction a tormented man, solitary and avaricious, burdened with repressed homosexuality and a surplus of creative enthusiasm. Michelangelo's acts of self-representation and his pivotal role in constructing his own myth are compellingly unveiled. Antonio Forcellino is one of the world's leading authorities on Michelangelo and an expert art historian and restorer. He has been involved in the restoration of numerous masterpieces, including Michelangelo's Moses. He combines his firsthand knowledge of Michelangelo's work with a lively literary style to draw the reader into the very heart of Michelangelo's genius.

    The fully articulated skeleton of a female saint, dressed in an intricate costume of silk brocade and gold lace, withered fingers glittering with colorful rubies, emeralds, and pearls this is only one of the specially photographed relics featured in Heavenly Bodies. In 1578 news came of the discovery in Rome of a labyrinth of underground tombs, which were thought to hold the remains of thousands of early Christian martyrs. Skeletons of these supposed saints were subsequently sent to Catholic churches and religious houses in German-speaking Europe to replace holy relics that had been destroyed in the wake of the Protestant Reformation. The skeletons, known as the catacomb saints, were carefully reassembled, richly dressed in fantastic costumes, wigs, crowns, jewels, and armor, and posed in elaborate displays inside churches and shrines as reminders to the faithful of the heavenly treasures that awaited them after death. Paul Koudounaris gained unprecedented access to religious institutions to reveal these fascinating historical artifacts. Hidden for over a century as Western attitudes toward both the worship of holy relics and death itself changed, some of these ornamented skeletons appear in publication here for the first time."

    3000 to ca. 30 BC) -- and by medium. Throughout, it blends factual information with stimulating interpretation and juxtaposes long-standing notions with the latest archaeological discoveries and hypotheses.

    Thisoften leads exasperated viewers to exclaim--is this really art?In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern, often sensational, works back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. In addition, Freeland guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Lastly, throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor.It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.

    Passionately argued, brilliantly written, and filled with Paglia’s trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown—paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context—from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock’s abstract Green Silver to Renée Cox’s daring performance piece Chillin’ with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world’s greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.

    Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    In none of them would he find the wife to seal the emotional bond that he so perfectly imagined and ardently desired. He described it, too, in his correspondence, not only in the remarkable, justly famous letters exchanged with his brother Theo, but also in heartfelt missives to his aggrieved mother, his loyal sister Wil, and his devoted sister-in-law Johanna. Focusing especially on van Gogh’s letters to these three steadfast women he called his sisters, award-winning author Derek Fell examines Vincent’s interior life and poignantly documents his emotional decline. Indeed, the blows that Vincent’s psyche suffered—like his rejection by Kee and a dramatic showdown with her father in which the devastated Vincent held his hand in a lantern’s flame—continually undermined his self-worth. In a sensitive reading and astute interpretation of van Gogh’s own written words, Fell illuminates the passions that at once commanded Vincent’s genius and tormented his heart. Many illustrations are included in this revealing life of the artist, as seen through the lens of his loves and losses.

    Focusing on the Western canon of art history, the text presents a compelling chronological narrative from prehistory to the present. A new non-Western supplement, "World Views: Topics in Non-Western Art", addresses specific areas of non-Western art and augments the Western chronology by illustrating moments of thematic relationships and cross-cultural contact.

    In the year in which Matar's life was shattered by the disappearance of his father the work of the great artists of Siena seemed to offer him a sense of hope. Over the years since then, Matar's feelings towards these paintings would deepen and, as he says, 'Siena began to occupy the sort of uneasy reverence the devout might feel towards Mecca or Rome or Jerusalem'.A Month in Siena is the encounter, twenty-five years later, between the writer and the city he had worshipped from afar. It is a dazzling evocation of an extraordinary place and its effect on the writer's life. It is an immersion in painting, a consideration of grief and a profoundly moving contemplation of the relationship between art and the human condition.____________________________________'An exquisite, deeply affecting book' - Evening Standard'This book tells us much about the extraordinary power of art to inspire' Literary Review

    If he had not invaded Sicily and Naples, we in the north would have the richest and most civilized state in Europe.' After looking cautiously round the room he added in an even lower voice, 'Of course to the south we would have a neighbour like Egypt.''Was the elderly Italian right? The Pursuit of Italy traces the whole history of the Italian peninsula in a wonderfully readable style, full of well-chosen stories and observations from personal experience, and peopled by many of the great figures of the Italian past, from Cicero and Virgil to Dante and the Medici, from Cavour and Verdi to the controversial political figures of the twentieth century. The book gives a clear-eyed view of the Risorgimento, the pivotal event in modern Italian history, debunking the influential myths which have grown up around it.Gilmour shows that the glory of Italy has always lain in its regions, with their distinctive art, civic cultures, identities and cuisine. The regions produced the medieval communes and the Renaissance, the Venetian Republic and the Grand Duchy of Tuscany, two of the most civilized states of European history. Their inhabitants identified themselves not as Italians, but as Tuscans and Venetians, Sicilians and Lombards, Neapolitans and Genoese. This is where the strength and culture of Italy still comes from, rather than from misconceived and mishandled concepts of nationalism and unity.This wise and enormously engaging book explains the course of Italian history in a manner and with a coherence which no one with an interest in the country could fail to enjoy.

    Written by scholars at the forefront of new thinking, many of whom are rising stars in their fields, the Oxford History of Art series offers substantial and innovative texts that clarify, illuminate, and debate the critical issues at the heart of art history today. Providing a fresh new look at art that moves away from traditional elitist approaches, the series makes use of new research and methodologies, as well as newly accessible and non-canonical works to offer comprehensive coverage of the art world from archaic and classical Greek art to twentieth-century design and photography, from the artistry of African-American and Native North Americans to the masterpieces of Europe, Polynesia, and Micronesia. Lavishly illustrated and superbly designed, the Oxford History of Art brings new substance and verve to the exciting and ubiquitous world of art.China boasts a history of art spanning 5,000 years and embracing a wide diversity of images and objects--from jade tablets, painted silk handscrolls and fans to ink and lacquer painting, porcelain-ware, sculpture, and calligraphy. But this rich tradition has not, until now, been fully appreciated in the West where scholars have focused their attention on sculpture, while largely ignoring those art forms most highly prized by the Chinese themselves, such as calligraphy. Now, in Art in China, Craig Clunas marks a breakthrough in the study of the subject. Taking into account all the arts practiced in China, and drawing on recent innovative scholarship, this rich text examines the production and consumption of art in its appropriate contexts. From art found in tombs to the state-controlled art of the Mao Zedong era, Art in China offers a novel look and comprehensive examination of all aspects of Chinese art.

    We know the Mona Lisa for her smile, but not that she was married to a slave-trader. We revere Leonardo da Vinci for his art, but few now appreciate his ingenious designs for weaponry. We visit Florence to see Michelangelo's David, but hear nothing of the massacre that forced the republic's surrender. In fact, many of the Renaissance's most celebrated artists and thinkers emerged not during the celebrated 'rebirth' of the fifteenth century but amidst the death and destruction of the sixteenth century.The Beauty and the Terror is an enrapturing narrative which includes the forgotten women writers, Jewish merchants, mercenaries, prostitutes, farmers and citizens who lived the Renaissance every day. Brimming with life, it takes us closer than ever before to the reality of this astonishing era, and its meaning for today.