Art critics gave them the name "the School of Paris" to set them apart from the French-born (and less talented) young artists of the period. Modigliani and Chagall eventually attained enormous worldwide popularity, but in those earlier days most School of Paris painters looked on Soutine as their most talented contemporary. Willem de Kooning proclaimed Soutine his favorite painter, and Jackson Pollack hailed him as a major influence.Soutine arrived in Paris while many painters were experimenting with cubism, but he had no time for trends and fashions; like his art, Soutine was intense, demonic, and fierce. After the defeat of France by Hitler's Germany, the East European Jewish immigrants who had made their way to France for sanctuary were no longer safe. In constant fear of the French police and the German Gestapo, plagued by poor health and bouts of depression, Soutine was the epitome of the tortured artist. Rich in period detail, Stanley Meisler's Shocking Paris explores the short, dramatic life of one of the most influential artists of the twentieth century.

    74 illustrations.

    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.

    Beginning with the laying of the corner stone in 1163, she recounts the conversion of Henri IV to Catholicism, the coronation of Napoleon, Victor Hugo’s nineteenth-century campaign to preserve the cathedral, Baron Haussmann’s clearing of the streets in front of it, the Liberation in 1944, the 1950s film of The Hunchback of Notre-Dame, starring Gina Lollobrigida and Anthony Quinn, and the state funeral of Charles de Gaulle, before returning to the present.The conflict over Notre-Dame’s reconstruction promises to be fierce. Nothing short of a cultural war is already brewing between the wise and the daring, the sincere and the opportunist, historians and militants, the devout and secularists. It is here that Poirier reveals the deep malaise – gilet jaunes and all – at the heart of the France.

    In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.

    In the second of her series of books on classic fashion destinations, Megan Hess takes you on a super stylish adventure through the French capital, showing you the best places for a fashionista to eat, sleep, shop and play – all illustrated in her inimitable, elegant style. Megan's tour reveals where fashion icons such as Coco Chanel, Karl Lagerfield, Chistian Dior and Louis-François Cartier worked and played, the top restaurants, hotels, boutiques and sites to visit, as well as Megan's own personal favorite places to shop. This is a must-have insider's guide to Paris for any fashion lover or Francophile.

    Elsken focuses on the Left Bank of Paris in the 1950s—a time when it was recognised as a centre of creative ferment which would determine the cultural agenda of a generation. With its unconventional, gritty, snapshot-like technique the work has been acclaimed as expanding the boundaries of documentary photography.

    I believe, Andre Breton said, in the future resolution of the states of dream and reality--in appearance so contradictory--in a sort of absolute reality, or "

    . . racial complications, vast sums of money made and lost, the return of the prodigal son, and maybe even bloody murder."In lyrical prose and startlingly revealing photographs, she crafts a totally original form of personal history that has the page-turning drama of a great novel but is firmly rooted in the fertile soil of her own life.

    Fresh, unstaged, and full of poetry and humor, his photographs portray everyday people (in everyday places, doing everyday things) frozen in time, unwittingly revealing fleeting personal emotions in a public context. Doisneau's gift was the ability to seek out and capture, with humanity and grace, those little epiphanies of everyday Parisian life. This book traces Doisneau's life and career, providing a wonderful introduction to the work of this seminal photographer.

    Created in the 1890s by George Washington Vanderbilt, a member of one of America's wealthiest families, the estate combined a 250-room French Renaissance-style chateau with 125,000 acres of gardens, forests, and working farms. Biltmore House served as Vanderbilt's primary residence for almost 20 years. After Mr. Vanderbilt's death in 1914, life at Biltmore continued for his wife Edith and daughter Cornelia. In 1930, Cornelia Vanderbilt Cecil and her husband, Hon. John Francis Amherst Cecil, opened Biltmore House--the largest private home in the United States--to the public, firmly establishing the Asheville area as a major tourist destination.

    Includes a facsimile reproduction of the 1942 Surrealist Album by Andre Breton.

    Auguste Rodin spoke candidly to his protégé, Paul Gsell, who recorded the master's thoughts not only about the technical secrets of his craft, but also about its aesthetic and philosophical underpinnings.Here is the real Rodin—relaxed, intimate, open, and charming—offering a wealth of observations on the relationship of sculpture to poetry, painting, theater, and music. He also makes perceptive comments on Rembrandt, Michelangelo, Raphael, and other great artists, and he shares revealing anecdotes about Hugo, Balzac, and others who posed for him. Seventy-six superb illustrations of the sculptor's works complement the text, including St John the Baptist Preaching, The Burghers of Calais, The Thinker, and many others, along with a selection of exuberant drawings and prints.

    When Eva Gouel moves to Paris from the countryside, she is full of ambition and dreams of stardom. Though young and inexperienced, she manages to find work as a costumer at the famous Moulin Rouge, and it is here that she first catches the attention of Pablo Picasso, a rising star in the art world.A brilliant but eccentric artist, Picasso sets his sights on Eva, and Eva can't help but be drawn into his web. But what starts as a torrid affair soon evolves into what will become the first great love of Picasso's life. With sparkling insight and passion, Madame Picasso introduces us to a dazzling heroine, taking us from the salon of Gertrude Stein to the glamorous Moulin Rouge and inside the studio and heart of one of the most enigmatic and iconic artists of the twentieth century.

    It is a turning point for O'Keeffe, poised to make her entrance into the art scene--and for Rebecca Salsbury, the fiancée of Stieglitz's protégé at the time, Paul Strand. When Strand introduces Salsbury to Stieglitz and O'Keeffe, it is the first moment of a bond between the two couples that will last more than a decade and reverberate throughout their lives. In the years that followed, O'Keeffe and Stieglitz became the preeminent couple in American modern art, spurring each other's creativity. Observing their relationship led Salsbury to encourage new artistic possibilities for Strand and to rethink her own potential as an artist. In fact, it was Salsbury, the least known of the four, who was the main thread that wove the two couples' lives together. Carolyn Burke mines the correspondence of the foursome to reveal how each inspired, provoked, and unsettled the others while pursuing seminal modes of artistic innovation. The result is a surprising, illuminating portrait of four extraordinary figures.