They shared their memories with him and the result is a book packed with nostalgia, statistics, action, revelations—an extraordinary oral history of baseball in the halcyon days beween the two world wars. Babe Ruth, Lefty Grove, Ted Williams, Bob Feller, Dizzy Dean, Jackie Robinson, Lou Gehrig, and many others are brought to life through the recollections of Wes Ferrell, Charlie Gehringer, Elbie Fletcher, Bucky Waters, Billy Herman, Cool Papa Bell, Spud Chandler, Pete Reiser, and a host of others. Those were the days when the grass was real, salaries were modest, Bob Feller was America's most famous seventeen-year-old, and idealism was in full swing. "Baseball builds your pride," said pitcher Wes Ferrell, who played it in order "to be a better guy."

    Delving into one of the most sacrosanct areas of culture—fine art collecting—Thomas Hoving presents a gallery of art fakes, fakers, and the suckers who fell for the scams.False Impressions from Thomas Hoving reveals the biggest, the best, the most embarrassing, and the most costly forgeries in history—many of them unknown until now.

    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.

    Its aftermath lives on to this day.Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences.When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II.In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.

    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.

    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.

    This book provides the art history student with an introduction to the range of theoretical perspectives used in looking at and analyzing art. It covers a broad range of approaches, presenting individual arguments, controversies, and divergent perspectives.The book begins by introducing the concept of theory and explains why it is important to the practice of art history. Each of the six chapters that form the core of the book presents a group of related approaches that are then discussed in turn and applied to one or more works of art. The book ends with some practical ideas about writing theory-based art history essays.

    In describing a world whose central aesthetic paradigm of modernism had lost its vitality, with an "avant-garde" that reflected the culture of consumerism, her book struck a chord in an audience that had once responded to the heroic idealism of modernism. Reprinted many times, Has Modernism Failed? became one of the most popular and influential works of contemporary art criticism. Now Gablik has revised and expanded her work to encompass developments over the last two decades. A new prologue looks at changes in the cultural context of art, especially at the radical split between artists who still proclaim the self-sufficiency of art, "in defiance of the social good," and artists who want art to have some worthy agenda outside of itself. In a new chapter, "Globalization," she looks at the ruthless cultural homogenization of a universal consumer society and how a number of artists and curators are challenging it. And in a passionate new chapter called "Transdisciplinarity" she offers a way forward for individuals to break free of the limiting ideologies of modernism and consumerism and shows how some artists are reflecting both spiritual and social concerns in their art.

    A must for all Rollins fans.

    Important Symbolist painters were at work in places as remote from one another as Munch in Oslo, Klimt in Vienna, and the young Picasso in Barcelona. It is through Symbolism, too, that the relationship between the English painting of the later nineteenth century and what was taking place in Europe can be explained. Edward Lucie-Smith's important study throws light upon the origins of Modernism, and upon the development of painting and sculpture in the final years of the century. 185 illus., 24 in color. Bibliography and index.

    These are not inventions of fantasy or science fiction, but are places that really exist-in our own solar system.Now with 190,000 copies in print, here is a spectacular Grand Tour of the solar system featuring a unique blend of science and art-photographs along with dazzling full-color paintings, drawings, and maps based on years of astronomer William Hartmann's research, personal observation, and interviews with colleagues. In text and diagrams, too, The Grand Tour explains how the strange and uncanny worlds on the journeys came to be, and what it would be like to actually set foot upon them today. The book includes an atlas of the planets and their satellites, and of the Earth's moon. Complete with a selection of previously unpublished photographs taken by the Apollo astronauts, and by the Mariner, Viking, and Pioneer planetary probes, The Grand Tour is unique and breathtaking, majestic and eerie, and wonderful, taking the reader to more, and to the beyond. Selection of the Book-of-the-Month Club, Quality Paperback Book Club, and Newbridge Book Club.

    Packed from cover to cover with stunning color photographs.

    A reference work of Disney animation spotlights each of the hundreds of Disney characters--including Mickey, Donald, Tinker Bell, and many others--including the full credits for each film.

    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.

    Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.