And the past couple of years have shown that this annoying never stops. To give just three examples:After a mid-Atlantic collision between French and British nuclear submarines, France's Minister of Defence seemed to blame the accident on ... shrimps.When French political superstar Dominique Strauss-Kahn was arrested in New York, France's establishment was outraged. It soon emerged that sexual harassment was regarded as a basic human right by the country's male �lite. (This theme provided so much excellent material that I decided to include it in the plot of my soon-to-be published novel, The Merde Factor.)And when David Cameron walked out of a Eurosummit, a French politician accused him of being 'like a man at a wife-swapping party who refuses to bring his own wife.' Yes, a very French image, and it just one of the many anti-Anglais insults that came flying across the Channel.You will find all this, and much more, in Annoying the French Encore! Because, for the French, the merde never ends.Yours historically,Stephen Clarke, Paris, August 2012'Tremendously entertaining' Sunday Times'Relentlessly and energetically rude' Mail on Sunday

    Thus began the biggest evacuation of art and antiques in history. A small army of workers swiftly emptied the Louvre's cavernous galleries of all but the most cumbersome and fragile pieces and tucked away the displaced treasures in the châteaux of the Loire countryside. As the Germans neared Paris in 1940, the French raced to move the masterpieces still further south, then again and again during the war, crisscrossing the southwest of France. Throughout the German occupation, the Louvre's staff fought to keep the priceless treasures out of the hands of Hitler and his henchmen and to keep the Louvre palace safe, many of them risking their jobs and their lives to protect the country's artistic heritage. Saving Mona Lisa is the sweeping, suspenseful narrative of their battle. Superbly researched and accompanied by riveting photographs of the period, it is a compelling story of art and beauty, intrigue and ingenuity, and remarkable moral courage in the face of one of the most fearful enemies in history.

    It is also one of history’s most mysterious and compelling works of art. This haunting stitched account of the battle that redrew the map of medieval Europe has inspired dreams of theft, waves of nationalism, visions of limitless power, and esthetic rapture. In his fascinating new book, Yale professor R. Howard Bloch reveals the history, the hidden meaning, the deep beauty, and the enduring allure of this astonishing piece of cloth.Bloch opens with a gripping account of the event that inspired the Tapestry: the swift, bloody Battle of Hastings, in which the Norman bastard William defeated the Anglo-Saxon king, Harold, and laid claim to England under his new title, William the Conqueror. But to truly understand the connection between battle and embroidery, one must retrace the web of international intrigue and scandal that climaxed at Hastings. Bloch demonstrates how, with astonishing intimacy and immediacy, the artisans who fashioned this work of textile art brought to life a moment that changed the course of British culture and history. Every age has cherished the Tapestry for different reasons and read new meaning into its enigmatic words and images. French nationalists in the mid-nineteenth century, fired by Tapestry’s evocation of military glory, unearthed the lost French epic “The Song of Roland,” which Norman troops sang as they marched to victory in 1066. As the Nazis tightened their grip on Europe, Hitler sent a team to France to study the Tapestry, decode its Nordic elements, and, at the end of the war, with Paris under siege, bring the precious cloth to Berlin. The richest horde of buried Anglo-Saxon treasure, the matchless beauty of Byzantine silk, Aesop’s strange fable “The Swallow and the Linseed,” the colony that Anglo-Saxon nobles founded in the Middle East following their defeat at Hastings–all are brilliantly woven into Bloch’s riveting narrative.Seamlessly integrating Norman, Anglo-Saxon, Viking, and Byzantine elements, the Bayeux Tapestry ranks with Chartres and the Tower of London as a crowning achievement of medieval Europe. And yet, more than a work of art, the Tapestry served as the suture that bound up the wounds of 1066. Enhanced by a stunning full-color insert that includes reproductions of the complete Tapestry, A Needle in the Right Hand of God will stand with The Professor and the Madman and How the Irish Saved Civilization as a triumph of popular history.From the Hardcover edition.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    This was, without doubt, the most celebrated cohabitation in art history: never, before or since have two such towering artistic talents been penned up in so small a space. They were the Odd Couple of art history. Predictably, the results were explosive. The dâenouement of their life together has entered into folklore. Two months after Gauguin arrived in Arles, Van Gogh suffered a psychological crisis. He spent most of the rest of his life in a mental institution. Gauguin fled from Arles, and they never saw each other again. But in the brief period during which they worked together a stream of masterpieces was created within the studio they shared. Here, for the first time, the full story of their life together is told.

    A rapturous guide through five major Ice Age sites” (Archaeology).   The cave art of France’s Dordogne region is world-famous for the mythology and beauty of its remarkable drawings and paintings. These ancient images of lively bison, horses, and mammoths, as well as symbols of all kinds, are fascinating touchstones in the development of human culture, demonstrating how far humankind has come and reminding us of the ties that bind us across the ages.   Over more than twenty-five years of teaching and research, Christine Desdemaines-Hugon has become an unrivaled expert in the cave art and artists of the Dordogne region. In Stepping-Stones she combines her expertise in both art and archaeology to convey an intimate understanding of the “cave experience.” Her keen insights communicate not only the incomparable artistic value of these works but also the near-spiritual impact of viewing them for oneself.   Focusing on five fascinating sites, including the famed Font de Gaume and others that still remain open to the public, this book reveals striking similarities between art forms of the Paleolithic and works of modern artists and gives us a unique pathway toward understanding the culture of the Dordogne Paleolithic peoples and how it still touches our lives today.   “Her vivid descriptions help readers visualize the Cro-Magnon man or woman painting the beautiful bison, horses, mammoths, and other symbols. [A] fine reading experience.” —Library Journal

    What is art? Why do we value images of saints, kings, goddesses, battles, landscapes or cities from eras of history utterly remote from ourselves? This history of art shows how painters, sculptors and architects have expressed the belief-systems of their age; religious, political and aesthetic.

    In this remarkable novel, Gioia Diliberto tells Virginie's story, drawing on the sketchy historical facts to re-create Virginie's tempestuous personality and the captivating milieu of nineteenth-century Paris. Born in New Orleans and raised on a lush plantation, Virginie fled to France during the Civil War, where she was absorbed into the fascinating and wealthy world of grand ballrooms, dressmakers' salons, and artists' ateliers. Even before Sargent painted her portrait, Virginie's reputation for promiscuity and showy self-display made her the subject of vicious Paris gossip. Immersing the reader in Belle Epoque Paris, I Am Madame X is a compulsively readable and richly imagined novel illuminating the struggle between Virginie and Sargent over the outcome of a painting that changed their lives and affected the course of art history.

    Indeed, no artistic movement has ever been quite so controversial. The drama of its birth, played out on canvas and against the backdrop of the Franco-Prussian War and the Commune, would at times resemble a battlefield; and as Ross King reveals, it would reorder both history and culture, and resonate around the world.

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    When it arrives, she opens it and finds inside private notes dating back to 1951—twenty pages of phone numbers and addresses for Balthus, Brassaï, André Breton, Jean Cocteau, Paul Éluard, Leonor Fini, Jacqueline Lamba, and other artistic luminaries of the European avant-garde.After realizing that the address book belonged to Dora Maar—Picasso’s famous “Weeping Woman” and a brilliant artist in her own right—Benkemoun embarks on a two-year voyage of discovery to learn more about this provocative, passionate, and enigmatic woman, and the role that each of these figures played in her life.Longlisted for the prestigious literary award Prix Renaudot, Finding Dora Maar is a fascinating and breathtaking portrait of the artist. This work received support from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States through their publishing assistance program.

    Now Annie Cohen-Solal, author of the hugely acclaimed Sartre: A Life (“an intimate portrait of the man that possesses all the detail and resonance of fiction”—Michiko Kakutani, The New York Times), recounts his incalculably influential and astonishing life in Leo and His Circle. After emigrating to New York in 1941, Castelli would not open a gallery for sixteen years, when he had reached the age of fifty. But as the first to exhibit the then-unknown Jasper Johns, Castelli emerged as a tastemaker overnight and fast came to champion a virtual Who’s Who of twentieth-century masters: Rauschenberg, Lichtenstein, Warhol, and Twombly, to name a few. The secret of Leo’s success? Personal devotion to the artists, his “heroes”: by putting young talents on stipend and seeking placement in the ideal collection rather than with the top bidder, he transformed the way business was done, multiplying the capital, both cultural and financial, of those he represented. His enterprise, which by 1980 had expanded to an impressive network of satellite galleries in Europe and three locations in New York, thus became the unrivaled commercial institution in American art, producing a generation of acolytes, among them Mary Boone, Jeffrey Deitch, Larry Gagosian, and Tony Shafrazi. Leo and His Circle brilliantly narrates the course of one man’s power and influence. But Castelli had another secret, too: his life as an Italian Jew. Annie Cohen-Solal traces a family whose fortunes rose and fell for centuries before the Castellis fled European fascism. Never hidden but also never discussed, this experience would form the core of a guarded but magnetic character possessed of unfailing old-world charm and a refusal to look backward—traits that ensured Castelli’s visionary precedence in every major new movement from Pop to Conceptual and by which he fostered the worldwide enthusiasm for American contemporary art that is his greatest legacy. Drawing on her friendship with the subject, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives us in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.

    During the following ten years they were lovers, worked closely together and she became mother to two of his children, Claude and Paloma. Life with Picasso, her account of those extraordinary years, is filled with intimate and astonishing revelations about the man, his work, his thoughts and his friends - Matisse, Braque, Gertrude Stein and Giacometti, among others. Francois Gilot paints a compelling portrait of her turbulent life with the temperamental (and even abusive) genius that was Picasso. As one of the few intimate witnesses to Picasso as a human being and as an artist, her account of him is invaluable for assessing him on both counts.

    Telling Van Gogh’s story from an utterly new perspective—that of his personal physician, Dr. Gachet, specialist in mental illness and great lover of the arts—Wallace allows us to view the legendary painter as we’ve never seen him before.  In our narrator’s eyes, Van Gogh is an irresistible puzzle, a man whose mind, plagued by demons, poses the most potentially rewarding challenge of Gachet’s career.  Wallace’s narrative brims with suspense and rich psychological insight as it tackles haunting questions about Van Gogh’s fate. A masterly, gripping novel that explores the price of creativity, Leaving Van Gogh is a luminous story about what it means to live authentically, and the power and limits of friendship.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.