Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

    This book is an in-depth analysis of that dynamic community, focusing primarily on the years 1380-1450 in an examination of the city's physical character, its economic and social structure and developments, its political and religious life, and its cultural achievement. For this edition, Mr. Brucker has added Notes on Florentine Scholarship and a Bibliographical Supplement.

    Having finally earned the money and gained the respect he sought in his early days as a struggling painter, Monet designed and built the home and gardens in the village on the Seine that would be the site of the famous "Grain Stacks" and "Water Lilies" paintings that would secure his reputation. A good, affordable introductory study of the pioneer of modern art.

    Palladio elevated the architecture of the private house into an art form, and he not only designed and built, he wrote. His late-sixteenth-century architectural treatises were read and studied by great thinkers as diverse as Thomas Jefferson and Inigo Jones, profoundly influencing the design of Monticello, the tidewater plantation houses of Virginia, and the White House. All across America today, Palladio's influence is evident in ample porches and columned porticoes, in grand ceiling heights and front-door pediments.In The Perfect House, Witold Rybczysnki, whose books on domestic and landscape architecture have transformed our understanding of parks and buildings, looks at Palladio's famous villas, not with the eye of an art historian but with the eye of an architect. He wanted to know why a handful of houses in an obscure corner of the Venetian Republic should have made their presence felt hundreds of years later and halfway across the globe.More than just a study of one of history's seminal architectural figures, "The Perfect House" reflects Rybczynski's intimacy with and enthusiasm for his subject. He not only reveals why the villas were so architecturally and culturally influential, he also imparts his enormous affection and admiration for the man who designed them. Embracing the elements of Rybczynski's most successful books on domestic architecture, Home and The Most Beautiful House in the World, this charming, revelatory meditation explores the dawn of domestic architecture and provides a new way of looking at everybuilding we inhabit or visit today.

    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.

    And it's a story that's been believed ever since. Too bad it just isn't true.Jonathan Lopez has done what no other writer could--tracking down primary sources in four countries and five languages to tell for the first time the real story of the world's most famous forger. Neither unappreciated artist nor antifascist hero, Van Meegeren emerges in The Man Who Made Vermeers as an ingenious, dyed-in-the-wool crook--a talented Mr. Ripley armed with a paintbrush, who worked virtually his entire adult life making and selling fake Old Masters. Drawing upon extensive interviews with descendents of Van Meegeren's partners in crime, Lopez also explores the networks of illicit commerce that operated across Europe between the wars. Not only was Van Meegeren a key player in that high-stakes game during the 1920s, landing fakes with powerful dealers and famous collectors such as Andrew Mellon (including two pseudo-Vermeers that Mellon donated to the National Gallery of Art in Washington, D.C.), but the forger and his associates later offered a case study in wartime opportunism as they cashed in on the Nazi occupation.The Man Who Made Vermeers is a long-overdue unvarnishing of Van Meegeren's legend and a deliciously detailed story of deceit in the art world.

    It begins in October 1900, as a teenage Pablo Picasso, eager for fame and fortune, first makes his way up the hillside of Paris’s famous windmill-topped district. Over the next decade, among the studios, salons, cafés, dance halls, and galleries of Montmartre, the young Spaniard joins the likes of Henri Matisse, André Derain, Maurice de Vlaminck, Georges Braque, Amedeo Modigliani, Constantin Brancusi, Gertrude Stein, and many more, in revolutionizing artistic expression.Sue Roe has blended exceptional scholarship with graceful prose to write this remarkable group portrait of the men and women who profoundly changed the arts of painting, sculpture, dance, music, literature, and fashion. She describes the origins of movements like Fauvism, Cubism, andFuturism, and reconstructs the stories behind immortal paintings by Picasso and Matisse. Relating the colorful lives and complicated relationships of this dramatic bohemian scene, Roe illuminates the excitement of the moment when these bold experiments in artistic representation and performance began to take shape.A thrilling account, In Montmartre captures an extraordinary group on the cusp of fame and immortality. Through their stories, Roe brings to life one of the key moments in the history of art. Praise for In Montmartre "Lively and engaging….[Readers] will find a fresh sense of how all these people—the geniuses and the hangers-on, the wealthy collectors and the unworldly painters—related to each other…..In [Roe’s] entertaining, ingeniously structured account Roe brings Montmatre’s hedyday back to life." —Sunday Times (London) "With evocative imagery Roe sketches out the intensely visual spectacle on which Montmatre’s artistic community was able to draw…. Roe is particularly good at communicating the extraordinary devotion of Matisse and Picasso to their work." —Financial Times

    George Bull, a distinguished translator of many Italian classics, has brought his skill and experience to bear on translating this new selection of Michelangelo's letters and poetry, as well as the 'Life' the biography written by Michelangelo's pupil Ascanio Condivi.

    They snatched one of the world's most famous paintings, Edvard Munch's The Scream, and fled with their $72 million trophy. The thieves made sure the world was watching: the Winter Olympics, in Lillehammer, began that same morning. Baffled and humiliated, the Norwegian police called on the world's greatest art detective, a half-English, half-American undercover cop named Charley Hill. In this rollicking narrative, Edward Dolnick takes us inside the art underworld. The trail leads high and low, and the cast ranges from titled aristocrats to thick-necked thugs. Lord Bath, resplendent in ponytail and velvet jacket, presides over a 9,000-acre estate. David Duddin, a 300-pound fence who once tried to sell a stolen Rembrandt, spins exuberant tales of his misdeeds. We meet Munch, too, a haunted misfit who spends his evenings drinking in the Black Piglet Café and his nights feverishly trying to capture in paint the visions in his head. The most compelling character of all is Charley Hill, an ex-soldier, a would-be priest, and a complicated mix of brilliance, foolhardiness, and charm. The hunt for The Scream will either cap his career and rescue one of the world's best-known paintings or end in a fiasco that will dog him forever.

    This haunting gem of medieval art, a subtle and beautiful portrait of a wealthy Bruges merchant and his wife, intrigues all who see it. Is the painting the celebration of marriage or pregnancy, a memorial to a wife who died in childbirth, a fashion statement or a status symbol? Using her acclaimed forensic skills as an art historian, Carola Hicks set out to decode the mystery.She also tells the fascinating story of the painting's survival through fire and battle, and of its owners. Uniquely, for a masterpiece of its age, its provenance can be tracked through every single owner - from the mysterious Mr Arnolfini via various monarchs to being an early star of the National Gallery in 1842- and these owners have a cameo appearance too, in this enthralling story of how an artwork of genius can speak afresh to each new generation.

    Indeed it was with a Salon review that he made his literary debut: and it is significant that even at this early stage - in 1845 - he was already articulating the need for a painter who could depict the heroism of modern life. This he was to find in Constantin Guys, whom he later celebrated in the famous essay which provides the title-piece for this collection. Other material in this volume includes important and extended studies of three of Baudelaire's contemporary heroes - Delacroix, Poe and Wagner - and some more general articles, such as those on the theory and practice of caricature, and on what Baudelaire, with intentional scorn, called philosophic art. This last article develops views only touched on in Baudelaire's other writings. This volume is extensively illustrated with reproductions of works referred to in the text and otherwise relevant to it. It provides a survey of some of the most important ideas and individuals in the critical world of the great poet who has been called the father of modern art criticism.

    With imagination and insight, the author brings Impressionism into focus by showing it through the eyes of the artists and their contemporaries, using letters, critical reviews and reminiscences of the people who were part of the story. As we see in Bernard Denvir's compelling survey, the Impressionists had new ways of painting, but they also had a new world to paint: a world of stream tricycles, emergent photography, and modern ideas about perception. 195 illus., 17 in color.

    Originally published in 1989 and until now unavailable in any edition, Just Looking had become one of Updike's rarest and most sought-after titles. It collects the best of the novelist and critic's multifarious musings on art and artists, museums and popular culture, the lives behind the works and the ways in which these works have informed his own life. Included here are pieces on Vermeer, Erastus Field, Modigliani, the major Impressionists, New Yorker cartoonist Ralph Barton, children's book illustrations, Fairfield Porter, and Jean Ipousteguy, among others, as well as extensive reflections on John Singer Sargent and Andrew Wyeth, a critical examination of writers' art, and a long essay on his impressions of the Museum of Modern Art. Featuring a new introduction by the author, this edition of Just Looking -- the first ever in paperback -- brings back into print a key work of art criticism by one of the most respected and accomplished writers of our time and is the first in the Museum of Fine Arts, Boston's new reprint series.

    He lived during the Italian Renaissance, a period known for its creative activity. Civilization made huge strides in science and invention, in literature, and in politics. In art, the age's great achievement, Michelangelo led all others.A short, wide-shouldered man with a face made homely by a broken nose, Michelangelo had a remarkable ability to concentrate his thoughts and energy on the task in hand. Often while working he would eat only a little bread, would sleep on the floor or on a cot beside his unfinished painting or statue, and would continue to wear the same clothes until his work was finished.

    In 1653, the twenty-one-year-old son of an innkeeper, the artist Jan Vermeer, registered as a master painter with the city's Guild. Vermeer married well, had many children, and enjoyed a respectable local reputation as a painter until his death in 1675. But it was not until the mid-nineteenth century that his genius was widely appreciated. Today, Vermeer's thirty-five paintings are regarded as masterpieces.In Vermeer, Anthony Bailey presents a compelling portrait of Vermeer's life and character, long lost in history. Bailey re-creates the atmosphere of the times, introduces Vermeer's contemporaries, and portrays his domestic life in vibrant detail. Drawing on period documents and his own intense curiosity, Bailey sheds light on the science and artistry behind the glorious, almost mystical, paintings. Meticulously researched and elegantly written, Vermeer will stand as the classic work on Vermeer for years to come.