It brings to vivid and shocking life the age in which Shakespeare lived and in which the English martyrs died." Joseph PearceWriter-in-Residence, Thomas More College of Liberal Arts

    Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

    Governments have sought to control, censor, or bend art to their own purposes; artists have resisted and subverted such efforts. But what happens when artists work on behalf of a political program? When does art become propaganda? Is art tainted, diminished, or elevated by its political content?Toby Clark argues that propaganda art appears in many guises, and that the desire to persuade is not always at odds with aesthetic aims. He examines these many forms: the state propaganda of Nazi Germany, Fascist Italy, and Stalin's Soviet Union; democratic governments' representation of enemies in wartime; and anti-government protest art around the world, uncovering the complex rhetoric, high beauty, and ambiguous role of art that dwells in the political realm.

    But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young

    But the name for which she is perhaps most remembered and which best explains why Elizabeth was the last of the Tudor monarchs, was the "Virgin Queen.'But how appropriate is that image? Were Elizabeth's suitors and favourites really just innocent intrigues? Or were they much more than that?

    This is all done through stimulating discussions on the elements, media, methods, content, composition, and style of art.Along with discussions on the purpose of art (Ch. 1-9), a separate Chapter (18) takes a look at art beyond Europe and the U.S. and examines art from all around the world. The history of art is contained chronologically in the second part of the book, (Ch. 10-17).

    BOOKS

    Divorce from his first wife, Catherine of Aragon, caused England’s break from the Catholic church in Rome. He went on to divorce Anne of Cleves and behead Anne Boleyn and Katherine Howard for infidelities. Jane Seymour died and Catherine Parr survived Henry.Henry VIII’s Wives in an Hour will introduce you to these six entirely diverse and captivating personalities and the events that propelled them to their individual fates. You will learn which wife had what impact on Henry and England and understand why Henry and his six wives form the most popular period of Tudor history.Know your stuff: read about Henry VIII’s wives in just one hour.

    

    At times a painter, sculptor, inventor, draftsman, and anatomist, Leonardo's life cannot easily be summarized. And yet, Nicholl skillfully traces the artist's early days as an illegitimate child in Tuscany; his apprenticeship with Verrocchio in Florence; his service with some of the most powerful Renaissance families; his relationships with Michelangelo and Machiavelli; and his final days at the French royal court. In addition, Nicholl looks beyond the well-known stories of Leonardo's famous masterpieces, and gives us a glimpse into the artist's everyday life. We learn of Leonardo's penchant for jokes, his fascination with flight, his obsessive note making, and even what he ate. Nicholl weaves these details together in a fascinating portrait that goes far towards revealing the enigmatic figure who continues to fascinate present-day readers.

    Marine 1st Force Reconnaissance Company during the bloodiest years of the Vietnam War. Dropped deep into enemy territory, Recon relied on stealth and surprise to complete their mission--providing intelligence on enemy positions and conducting raids, prisoner snatches, and ambushes. Fleming's absorbing memoir recounts his transformation from idealistic recruit to cynical veteran as the war claimed the lives of his friends and the missions became ever more dangerous.

    They built lavish villas designed by the best Beaux Arts–style architects of the time, including Richard Morris Hunt, Charles McKim and Robert Swain Peabody. America’s elite delighted in referring to these grand retreats as “summer cottages,” where they would play tennis and polo and sail their yachts along the shores of the Ocean State. The coachman had an important role as the discreet outdoor butler for Gilded Age gentlemen—not only was he in charge of the horses, but he also acted as a travel advisor and connoisseur of entertainment venues. From the driver’s seat, author and guide Edward Morris provides a diverse collection of biographical sketches that reveal the outrageous and opulent lives of some of America’s leading entrepreneurs.

     It is the day before Empire Day – 4th July - the day each year when the British Empire marks the brutal crushing of the rebellion dignified by the treachery of the fifty-six delegates to the Continental Congress who were so foolhardy as to sign the infamous Declaration of Independence in Philadelphia on that day of infamy in 1776. It is nearly two hundred years since George Washington was killed and his Continental Army was destroyed in the Battle of Long Island and now New England, that most quintessentially loyal and ‘English’ imperial fiefdom – at least in the original, or ‘First Thirteen’ colonies - is about to celebrate its devotion to the Crown and the Old Country, of which it still views, in the main, as the ‘mother country’. Yet all is not roses. Since 1776 in a world of empires the British Empire has grown and prospered until now, it stands alone as the ultimate arbiter of global war and peace. The Royal Navy has enforced the global Pax Britannia for over a century since the World War of the 1860s established a lasting but increasingly tenuous ‘peace’ between the great powers. Nonetheless, while elsewhere the Empire may be creaking at the seams, struggling to come to terms with a growing desire for self-determination; thus far the Pax Britannica has survived – buttressed by the commercial and industrial powerhouse of New England stretching from the Atlantic to the Pacific North West - intact for all that barely a year goes by without the outbreak of another small, colonial war somewhere... This said, the British ‘Imperial System’ remains the envy of its friends and enemies alike and nowhere has it been so successful as in North America, where peace and prosperity has ruled in the vast Canadian dominions and the twenty-nine old and recent colonies of the Commonwealth of New England for the best part of two centuries. In Whitehall every British government in living memory has complacently based its ‘American Policy’ on the one immutable, unchanging fact of New England politics; that the First Thirteen colonies will never agree with each other about anything, let alone that the sixteen ‘Johnny-come-lately’ new (that is, post-1776) colonies, protectorates, territories and possessions which comprise half the population and eight-tenths of the land area of New England, should ever have any say in their affairs! New England is a part of England and always will be because, axiomatically, it will never unite in a continental union. Notwithstanding, in the British body politic the myths and legends of that first late eighteenth-century rebellion in the New World still touches a raw nerve in the old country, much as in former epochs memories of Jacobin revolts, Oliver Cromwell and the Civil War still harry old deep-seated scars in the national psyche. Empire Day might not have originally been conceived as a celebration of the saving of the first British Empire and but as time has gone by it has come to symbolise the one, ineluctable truth about the Empire: that New England is the rock upon which all else stands, an empire within an empire that is greater than the sum of all the other parts of the great imperium ruled from London. In past times a troubling question has been whispered in the corridors of power in London: what would happen to the Empire – and the Pax Britannica – if the British hold on New England was ever to be loosened? Generations of British politicians have always known that if the question was ever to be asked again in earnest it has but one answer.

    The old sailors, who could remember her past, said that she was jinxed and ought never sail again. But in the last days of 1940, as the phoney war drew to an end, Britain needed every ship she could lay her hands on, to challenge the might of Hitler’s Kriegsmarine. So it was that Lieutenant-Commander John Lamb found himself commanding the old destroyer Rose, with a crew of misfits and troublemakers, and set sail across the dark and icy seas in a desperate race to prevent the German invasion of Norway.... Duncan Harding is a pseudonym for Charles Whiting (1926-2007), who also wrote as Leo Kessler and John Kerrigan. Charles Whiting volunteered for the Army aged 16 in 1943, where he saw active service in Belgium, Holland and Germany with the 52nd Reconnaissance Regiment. He has over 350 books to his credit, encompassing military history, espionage, biography and action fiction and holds the Sir George Dowty Prize for Literature.