His talent soon caught the eye of 16th-century rulers, and he moved on to the imperial courts of Ferdinand I, Maximilian II, and Rudolf II in Prague, where he created the scenes for his Seasons. In Arcimboldo's allegorical paintings, Spring appears as a young man composed entirely of flowers, Summer as a composition of fruits, Autumn as a head made of grapes, and Winter as a gnarled old man twined with ivy. Arcimboldo remained true to the allegorical principles informing the artistic and philosophical world view of the 16th century. His paintings are not only full of references to ancient classical gods and goddesses, but above all they reflect the courtly cosmos of the art chambers and wonder cabinets in which countless exotic and bizarre objects were housed. With the decline of this allegorical world vision between the Renaissance and Mannerism, Arcimboldo was forgotten- only to be rediscovered by modern artists.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    Featuring her twenty-two-pound, ginger-colored cat Zarathustra superimposed onto some of the greatest artworks of all time, Petrova’s paintings are an Internet sensation. Now fans will have the ultimate full-color collection of her work, including several never-before-seen pieces, to savor for themselves or to give as a gift to fellow cat lovers. From competing with Venus’s sexy reclining pose (and almost knocking her off her chaise lounge in the process) in Titian’s Venus of Urbino, to exhibiting complete disdain as he skirts away from God’s pointing finger in Michelangelo’s Creation of Adam, Zarathustra single-handedly rewrites art history in the way that only an adorable fat cat can.

    In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one.Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.

    Nicholas became Tsar at the age of 26. Though a conscientious man who was passionate in his devotion to his country, he was weak, sentimental, dogmatic and indecisive. Ironically he could have made an effective constitutional monarch, but these flaws rendered him fatally unsuited to be the sole ruler of a nation that was in the throes of painful modernisation. That he failed is not surprising, for many abler monarchs could not have succeeded. Rather to be wondered at is that he managed, for 23 years, to hold on to power despite the overwhelming force of circumstances. Though Nicholas was exasperating, he had many endearing qualities. A modern audience, aware - as contemporaries were not - of the private pressures under which he lived, can empathise with him and forgive some of his errors of judgement. To some readers he seems a fool, to others a monster, but many are touched by the story of a well-meaning man doing his best under impossible conditions. He is, in other words, a biographical subject that engages readers whatever their viewpoint. His family was of great importance to Nicholas. He and his wife, Alexandra, married for love and retained this affection to the end of their lives. His four daughters, all different and intriguing personalities, were beautiful and charming. His son, the family's - and the nation's - hope for the future, was disabled by an illness that had to be concealed from Russia and from the world. It was this circumstance that made possible the nefarious influence of Rasputin, which in turn hastened the end of the dynasty.This story has everything: romance and tragedy, grandeur and misery, human frailty and an international catastrophe that would not only bring down the Tsar but put an end to the glittering era of European monarchies.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    Shows how to create abstract paintings within the rules of realism through a list of tools and materials, lessons on applying traditional elements to abstract art, and projects with instructions and color illustrations.

    His rule served as the bookends between what were essentially two Russian empires; the one that his forefathers carved out through imperial ambition and the one dictated by the zealous communists of the Soviet Union bent on socialist expansion. Nicholas was by most accounts a conflicted ruler; a man viewed as kind and generous in his mannerisms yet alleged to be greatly disconnected and apathetic toward the subjects he was supposed to rule over. Inside you will read about... - Nicholas and the Funeral Bride - The Coronation Tragedy - Bloody Sunday - Nicholas' Reluctant Reforms - Three Hundred Years of Romanov Rule - The Tsar and World War I - The Last Russian Tsar And much more! Find out how this last Russian tsar rose to power and oversaw the end of a 300-year family dynasty as it teetered, tottered, and finally fell over the edge of oblivion. This is the story of Tsar Nicholas II.

    It documents her experience visiting the continent of Antarctica in January 2019 with photos taken by New Zealand photographer Harriet Were. Lorde expressed an interest in exploring the region of Antarctica since she was old enough to read. In January 2019, she visited Scott Base and McMurdo Station, Antarctica, travelling as an Antarctic Ambassador. During her visit, she observed microscopic species in environmental laboratories and spoke with scientists. Lorde described the book as "sort of a perfect precursor" to her upcoming third studio album. It will feature over 100 pages of images taken by New Zealand photographer Harriet Were and writings from Lorde. All proceeds will be used to fund a postgraduate scholarship created by Antarctica New Zealand, a government agency.

    Art in Theory, 1815–1900 provides the most wide-ranging and comprehensive collection of documents ever assembled on nineteenth-century theories of art.

     Sandro was a crucial witness to the collapse of his family. He was the cousin, brother-in-law and close friend of the last tsar, Tsar Nicholas II of Russia. He was with Nicky when thousands of Russian peasants died at Khodynka Field during Nicky’s coronation; he was with Nicky in the lead-up to the disastrous Russo-Japanese War; he was with Nicky during the failed revolution of 1905-6; he was with Nicky when the Russian Duma was established in an attempt to ward off future revolutions; he was with Nicky as Russia moved determinedly toward a military showdown with Germany; he was with Nicky fighting the German army of the Eastern Front during the First World War; he was with Nicky when he abdicated in favour of his brother, Michael, who refused the throne. This is a riveting first-hand account of the final days of the Russian Empire and of what it was like to be a member of the Russian Imperial Family at that time. And to our great good fortune, while Sandro may have been no Stolypin, he was a keen observer and an excellent writer. Anyone intrigued by the last days of the Romanovs as the ruling family of Russia should read this book.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    So the next time the fates collide and you're reminded of what a small world it can be, you'll realize we're all victims of coincidence ...

    Gombrich is acknowledged as one of the most influential scholars and thinkers of the 20th century. His writings include three major narrative works - The Story of Art, Art and Illusion and The Sense of Order - and ten volumes of collected essays and reviews. This anthology presents a selection from all these books, as well as six pieces which have previously not been published by Phaidon.

    Petersburg-a "window on the West"-and culminating with the challenges posed to Russian identity by the Soviet regime, Figes examines how writers, artists, and musicians grappled with the idea of Russia itself-its character, spiritual essence, and destiny. He skillfully interweaves the great works-by Dostoevsky, Stravinsky, and Chagall-with folk embroidery, peasant songs, religious icons, and all the customs of daily life, from food and drink to bathing habits to beliefs about the spirit world. Figes's characters range high and low: the revered Tolstoy, who left his deathbed to search for the Kingdom of God, as well as the serf girl Praskovya, who became Russian opera's first superstar and shocked society by becoming her owner's wife. Like the European-schooled countess Natasha performing an impromptu folk dance in Tolstoy's War and Peace, the spirit of "Russianness" is revealed by Figes as rich and uplifting, complex and contradictory-a powerful force that unified a vast country and proved more lasting than any Russian ruler or state.