"To understand it, you have to see how it mirrors my life." Richardson, who lived near the artist in Provence for ten years and became a trusted friend, was able to observe and record this phenomenon at first hand. Later, Picasso's widow continued to give Richardson access to the artist's studios and storerooms. This close personal friendship and the privilege of working in hitherto inaccessible archives make Richardson uniquely qualified to write the artist's life, rescuing his renown from sensationalist legend and specialist pleading and analyzing anew the traumas and obsessions that triggered his explosive genius.Richardson is the first biographer to make sense of the myriad contradictions that leave so many statements about Picasso's nature equally true in reverse. The artist's ambivalence is one of the author's central themes. At last we are able to see how his courage and terror misogyny and tenderness, generosity and thrift, superstition and skepticism, cynicism and sentiment, are reflected in the conflicts and paradoxes in his work.Richardson's eye is finely attuned to the complexities of Picasso's art, and his extensive knowledge of cultural history enables him to show how Picasso plundered the art of the past, the imaginations of his poet friends, the beliefs of mystics and magi, to create a revolutionary new synthesis. The author's evocation of Picasso's ferocious ego, demonic loves and hates and black fears is the more absorbing for its terse and lively prose and freedom from jargon.This first volume of Richardson's prodigiously detailed and documented four-volume study takes Picasso to the age of twenty-five. It reveals how the adolescent Picasso struggled, through determination and study, to escape the shadow of his father's artistic failures. It describes his precocious success in Barcelona and Paris and the period of rejection and despair that followed. We watch Picasso transform the prostitutes of the Saint-Lazare prison into Blue period madonnas and, later, the performers of the Montmartre circuses into Rose period harlequins. Volume I culminates in Picasso's dawning perception of himself as the messiah of the modern movement.Some nine hundred illustrations, many of them unfamiliar, enable the reader to follow Picasso's mesmerizing development in images as well as words.

    Crinolines and ruffs. Chain mailand corsets. What do these antiquated items have to do with the oh-so-twenty-first-century skinny jeans, graphic tee, and sexy pumps you slipped into this morning? Everything! Fashion begets fashion, and life—from economics to politics, weather to warfare, practicality to the utterly impractical—is reflected in the styles of any given era, evolving into the threads you buy and wear today. With the candidness, intelligence, and charm that made him a household name on Project Runway, Tim Gunn reveals the fascinating story behind each article of clothing dating back to ancient times, in a book that reads like a walking tour from museum to closet with Tim at your side. From Cleopatra’s crown to Helen of Troy’s sandals, from Queen Victoria’s corset to Madonna’s cone bra, Dynasty’s power suits to Hillary Clinton’s pantsuits, Tim Gunn’s Fashion Bible takes you on a runway-ready journey through the highs and lows of fashion history. Drawing from his exhaustive knowledge and intensive research to offer cutting-edge insights into modern style, Tim explains how the 1960s ruined American underwear, how Beau Brummell created the look men have worn for more than a century, why cargo capri pants are a plague on our nation, and much more. He will make you see your wardrobe in a whole new way. Prepare to be inspired as you change your thinking about the past, present, and future of fashion!

    A relative unknown at the time, Sargent won the commission to paint her; the two must have recognized in each other a like-minded hunger for fame.Unveiled at the 1884 Paris Salon, Gautreau's portrait generated the attention she craved-but it led to infamy rather than stardom. Sargent had painted one strap of Gautreau's dress dangling from her shoulder, suggesting either the prelude to or the aftermath of sex. Her reputation irreparably damaged, Gautreau retired from public life, destroying all the mirrors in her home.Drawing on documents from private collections and other previously unexamined materials, and featuring a cast of characters including Oscar Wilde and Richard Wagner, Strapless is a tale of art and celebrity, obsession and betrayal.

    Its aim is to enable the reader to recognise, understand and date any British building.As Matthew Rice says, ‘Once you can speak any language, conversation can begin, but without it communications can only be brief and brutish. The same is the case with Architecture: an inability to describe the component parts of a building leaves one tongue-tied and unable to begin to discuss what is or is not exciting, dull or peculiar about it.' RICE'S ARCHITECTURAL PRIMER will explain the language of architecture. With it in your hand, pocket or car, buildings will break down beguilingly into their component parts, ready for inspection and discussion. There will be no more references to that curly bit on top of the thing with the square protrusions. Ungainly and inept descriptions will be a thing of the past and, fluent in the world of volutes, hood moulds, lobed architraves and bucrania, you will be able to leave a cathedral or country house with as much to talk about as a film or play.RICE'S ARCHITECTURAL PRIMER starts with an explanation of the basic ‘Grammar' of buildings: elevation, plan, roof, gable and eave. This will enable the reader to better make use of what is to follow. It will also cover the Orders of Architecture – Doric, Tuscan, Ionic, Corinthian and Composite – so that the vital basics of Classicism are covered. Following this is the ‘Vocabulary'. This will be a chronological reference section covering, period by period, the windows, doors and doorcases, columns, chimneys, arches, balustrades and pediments that make up the built environment.

    From Robert Capa's stark photograph of a Loyalist soldier being shot in the head during the Spanish Civil War to Eve Arnold's astonishingly intimate portraits of well-known faces - from Joan Crawford to Malcolm X - Magnum has changed how we perceive our political leaders, social crises, and the communities next door.Magnum's photographers are some of the most talented, brave, and resourceful in the world: the founders, Robert Capa, David Seymour, George Rodger, and Henri Cartier-Bresson; and recruits, including Eve Arnold, Bruce Davidson, Mary Ellen Mark, Susan Meiselas, Inge Morath, James Nachtwey, Eugene Richards, and Sebastiao Salgado. Magnum follows them on assignment, facing bodyguards and visa troubles and taking to the risk-filled trenches of several wars for the perfect shot. Full of wonderful stories and heroic feats, Magnum is an essential volume for anyone interested in photography or photojournalism.

    Hunted in turn by American troops, the Philippine police, hostile islanders, and successive Japanese search parties, Onoda had skillfully outmaneuvered all his pursuers, convinced that World War II was still being fought and that one day his fellow soldiers would return victorious. This account of those years is an epic tale of the will to survive that offers a rare glimpse of man's invincible spirit, resourcefulness, and ingenuity. A hero to his people, Onoda wrote down his experiences soon after his return to civilization. This book was translated into English the following year and has enjoyed an approving audience ever since.

    Authentic samurai, farmers, craftsmen, merchants, courtiers, priests, entertainers and outcasts come to life in this magnificently illustrated portrait of a colorful society.

    These monuments, built between the ninth and 15th centuries, the classic period of Khmer art, are unrivaled in architect

    Get ready for hundreds of pages filled with surprising revelations, inside information, obscure trivia, and universal cosmic destruction. This legend of localization doesn’t stink!

    At nineteen, Jake Adelstein went to Japan in search of peace and tranquility. What he got was a life of crime . . . crime reporting, that is, at the prestigious Yomiuri Shinbun. For twelve years of eighty-hour workweeks, he covered the seedy side of Japan, where extortion, murder, human trafficking, and corruption are as familiar as ramen noodles and sake. But when his final scoop brought him face to face with Japan’s most infamous yakuza boss—and the threat of death for him and his family—Adelstein decided to step down . . . momentarily. Then, he fought back.In Tokyo Vice, Adelstein tells the riveting, often humorous tale of his journey from an inexperienced cub reporter—who made rookie mistakes like getting into a martial-arts battle with a senior editor—to a daring, investigative journalist with a price on his head. With its vivid, visceral descriptions of crime in Japan and an exploration of the world of modern-day yakuza that even few Japanese ever see, Tokyo Vice is a fascination, and an education, from first to last.

    Though they were often ridiculed or ignored by their contemporaries, today astonishing sums are paid for the works of these artists, whose paintings are celebrated for their ability to capture the moment, not only in the fleeting lights of a landscape but in scenes of daily life. Their dazzling pictures are familiar—but how well does the world know the Impressionists as people? The Private Lives of the Impressionists tells their story. It is the first book to offer an intimate and lively biography of the world's most popular group of artists.In a vivid and moving narrative, biographer Sue Roe shows the Impressionists in the studios of Paris, rural lanes of Montmartre and rowdy riverside bars as Paris underwent Baron Haussmann's spectacular transformation. For more than twenty years they lived and worked together as a group, struggling to rebuild their lives after the Franco-Prussian War and supporting one another through shocked public reactions to unfamiliar canvases depicting laundresses, dancers, spring blossoms and boating scenes.This intimate, colorful, superbly researched account takes us into their homes and studios, and describes their unconventional, volatile and precarious lives, as well as the stories behind the paintings.

    From the 1893 Chicago World's Fair to the 2000 Whitney Biennial, a rapid succession of art movements and different styles reflected theextreme changes in American culture and society, as well as America's position within the international art world.This exciting new look at twentieth century American art explores the relationships between American art, museums, and audiences in the century that came to be called the American century. Extending beyond New York, it covers the emergence of Feminist art in Los Angeles in the 1970s; the Blackart movement; the expansion of galleries and art schools; and the highly political public controversies surrounding arts funding. All the key movements are fully discussed, including early American Modernism, the New Negro movement, Regionalism, Abstract Expressionism, Pop Art, andNeo-Expressionism.

    Evidence that Jesus had siblings contradicts Church dogma on the virgin birth, and James is also a symbol of Christian teachings that have been obscured. While Peter is traditionally thought of as the leader of the apostles and the “rock” on which Jesus built his church, Jeffrey Bütz shows that it was James who led the disciples after the crucifixion. It was James, not Peter, who guided them through the Church's first major theological crisis--Paul's interpretation of the teachings of Jesus. Using the canonical Gospels, writings of the Church Fathers, and apocryphal texts, Bütz argues that James is the most overlooked figure in the history of the Church. He shows how the core teachings of Jesus are firmly rooted in Hebraic tradition; reveals the bitter battles between James and Paul for ideological supremacy in the early Church; and explains how Paul's interpretations, which became the foundation of the Church, are in many ways its betrayal. Bütz reveals a picture of Christianity and the true meaning of Christ's message that are sometimes at odds with established Christian doctrine and concludes that James can serve as a desperately needed missing link between Christianity, Judaism, and Islam to heal the wounds of centuries of enmity.

    

    Here, from author Jay Williams, is the moving story of the man behind the Renaissance myth.