But back on firm ground, their vastly different social strata become clear. Cait is a widow who because of her precarious financial situation is forced to chaperone two wealthy Scottish charges. Émile is expected to take on the bourgeois stability of his family's business and choose a suitable wife. As the Eiffel Tower rises, a marvel of steel and air and light, the subject of extreme controversy and a symbol of the future, Cait and Émile must decide what their love is worth. Seamlessly weaving historical detail and vivid invention, Beatrice Colin evokes the revolutionary time in which Cait and Émile live - one of corsets and secret trysts, duels and Bohemian independence, strict tradition and Impressionist experimentation. To Capture What We Cannot Keep, stylish, provocative, and shimmering, raises probing questions about a woman's place in that world, the overarching reach of class distinctions, and the sacrifices love requires of us all.

    Its images are shaped by an eye and a mind legendary for their empathy and for going to the heart of the matter. Cartier-Bresson's talent, his famous mantle of invisibility and his good connections with such figures as Nehru allowed him to capture the quintessence of India - a land renowned for its contradictions and variety. His pictures of Hindus in refugee camps after the Partition or beggars in Calcutta speak with the same passion and authority as those of the Maharaja of Baroda's sumptuous birthday celebrations or of the Mountbattens on the steps of Government House. Considerable space is given to his famous reportages, such as the astonishing sequence on the death and cremation of Gandhi.

    Little did Will know this would make him a witness to countless horrific deaths on both sides of the conflict and, ultimately, to the largest mass execution in United States history. Amidst the chaos, Will’s life intersects with the Dakota warrior called “Cut Nose,” so named after having part of his nose bitten off in a fight, and Anja Lund, a young schoolteacher whose spirit is unyielding despite heartbreak at every turn. As the stakes grow increasingly higher, these three form powerful and mysterious connections with each other, intertwining their fates through both love and war. Featuring heart-stopping battles, intrigue, and romance, Cut Nose will keep readers electrified until the last page.

    Eliot Porter's photographs of the natural world, spanning thirty-five years and five continents -- from an Antarctic ice floe to an American desert to an Icelandic lava field -- reveal in mesmerizing ways what scientists are beginning to see for themselves: the patterns, relations, and interactions present in nature's disorder and wildness. This is the perfect marriage of image and text -- brilliant full-color photographs by the preeminent nature photographer of his generation together with an illuminating essay by the widely praised author of Chaos.

    Porn stars, supermodels, transsexuals, hillbillies, friends, pets, and celebrities do for photographer Terry Richardson what they do for no other because in his world, taboos are null and void, and fashion finds sex a perfect fit.

    A leading spokesman for the English Aesthetic movement, Wilde promoted "art for art’s sake" against critics who argued that art must serve a moral purpose. On every page of this collection the gifted literary stylist admirably demonstrates not only that the characteristics of art are "distinction, charm, beauty, and imaginative power," but also that criticism itself can be raised to an art form possessing these very qualities.In the opening essay, Wilde laments the "decay of Lying as an art, a science, and a social pleasure." He takes to task modern literary realists like Henry James and Emile Zola for their "monstrous worship of facts" and stifling of the imagination. What makes art wonderful, he says, is that it is "absolutely indifferent to fact, [art] invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment."The next essay, "Pen, Pencil, and Poison," is a fascinating literary appreciation of the life of Thomas Griffiths Wainewright, a talented painter, art critic, antiquarian, friend of Charles Lamb, and — murderer.The heart of the collection is the long two-part essay titled "The Critic as Artist." In one memorable passage after another, Wilde goes to great lengths to show that the critic is every bit as much an artist as the artist himself, in some cases more so. A good critic is like a virtuoso interpreter: "When Rubinstein plays … he gives us not merely Beethoven, but also himself, and so gives us Beethoven absolutely…made vivid and wonderful to us by a new and intense personality. When a great actor plays Shakespeare we have the same experience."Finally, in "The Truth of Masks," Wilde returns to the theme of art as artifice and creative deception. This essay focuses on the use of masks, disguises, and costume in Shakespeare.For newcomers to Wilde and those who already know his famous plays and fiction, this superb collection of his criticism offers many delights.The introduction is by Percival Pollard New York, July, 1905.

    His work first garnered attention in the 1990s when he ushered in a new genre of painting, “Pop Surrealism,” dragging a host of followers in his wake. He has trumped the initial surrealist strategies by choosing subject matter loaded with cultural connotation.Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden’s world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes. Complex in its arcane and idiosyncratic subject matter, Ryden’s work can leave no viewer unmoved.Pinxit, whose title refers to the Latin term meaning “painted by,” is organized by the themes of Ryden’s major exhibitions—The Meat Show, Bunnies & Bees, The Tree Show, and so on—and includes collected essays by Yoshitomo Nara, Carlo McCormick, and others, and a new essay by culture critic Kristine McKenna. Ryden’s paintings and drawings are reproduced using the finest technique available, and over a dozen of the paintings are foldouts that open to a staggering 150 cm (59 inches) across. Many books have been published on Mark Ryden before, but none like this large-format monograph, released in a boxed Collector’s Edition of 1,000 numbered copies, each signed by the artist; and also available in an Art Edition of only 50 copies, which come with an artwork. This sweeping retrospective brings together nearly two decade’s worth of Mark Ryden’s paintings and works on paper, broadening the horizons of his uncanny universe and bringing it to the world, one big page at a time.Collector’s Edition – No. 51–1,050 Limited to 1,000 individually numbered copies, each signed by Mark Ryden Printed on archival-quality paper Quarter-bound book with leather spine Front cover features gold-relief embossing crafted by the master printers at Pressure Printing Comes in a clamshell box covered in cloth fabric Also available in an Art Edition of 50 copies with a silk screen print

    This giant tome provides a timely look at the fascinating women who created and inhabit the SG community. With an introduction by SG founder, Missy Suicide and images of hundreds of SuicideGirls world-wide, this title shines a light on a new female aesthetic - a look reminiscent of vintage Betty Page and Bunny Yeager photos, but with a decisively 21st century edge. "There's no other place in the media to see girls (like these) who are tremendously smart and beautiful in their own way" says Missy, "Everywhere you look you just see the super-thin, super-tall, bleach blonde Baywatch babe. There are a lot of people out there who want to see a different kind of beauty."

    1850. The Great Exhibition is being erected in Hyde Park and among the crowd watching the spectacle two people meet. For Iris, an aspiring artist, it is the encounter of a moment – forgotten seconds later, but for Silas, a collector entranced by the strange and beautiful, that meeting marks a new beginning. When Iris is asked to model for pre-Raphaelite artist Louis Frost, she agrees on the condition that he will also teach her to paint. Suddenly her world begins to expand, to become a place of art and love.But Silas has only thought of one thing since their meeting, and his obsession is darkening . . .

    Cream, published by Phaidon in 1998, was a sensational cultural event. Fresh Cream consolidates the biennial status of Cream as a frame of reference and an essential source of new art for art professionals and newcomers alike. Pursuing the theme of its predecessor, with 10 new world-class contemporary curators each choosing ten emerging artists, the book presents in its entirety the works of 100 artists and an up-to-the-minute global overview of the contemporary art world, not only for now but also for the future. These artists have risen to intense international acclaim since the 1990s or, in the opinion of the curators who have selected them, are about to emerge internationally in the near future. Fresh Cream contains the enormous breadth of ideas and forms that exist in contemporary art. The artists' spreads are arranged in an A-Z order, featuring numerous examples of each artist's work alongside a concise text from the selecting curator and vital biographical information about the artist. A conversation between the 10 curators and the commissioning editor gives a penetrative insight into their selections and of the key issues in contemporary art. The cultural context in which the artists work - from philosophy to fiction - is presented through recent texts from 10 contemporary writers, one selected by each curator. Itself embodying the creative originality and innovation of its content, Fresh Cream is packaged in an incredible, inflated, clear plastic pillow.

    This spectacular book brings together the most beautiful, memorable and evocative pictures of Steve McCurry's extraordinary career.

    Maud Heighton came to Lafond's famous Academie to paint, and to flee the constraints of her small English town. It took all her courage to escape, but Paris eats money. While her fellow students enjoy the dazzling joys of the Belle Époque, Maud slips into poverty. Quietly starving, and dreading another cold Paris winter, Maud takes a job as companion to young, beautiful Sylvie Morel. But Sylvie has a secret: an addiction to opium. As Maud is drawn into the Morels' world of elegant luxury, their secrets become hers. Before the New Year arrives, a greater deception will plunge her into the darkness that waits beneath this glittering city of light.

    Written by J. Jason Horejs, owner of Xanadu Gallery in Scottsdale, AZ, Starving to Successful will give you pragmatic advice and concrete, actionable steps you can begin implementing immediately to become more successful in marketing your work to galleries.Gain insight into what a gallery owner is thinking as he or she reviews your portfolio. Understand why the most common approaches artists make to galleries are largely ineffective. Learn what most artists fail to do in preparing their work for sale.Starving to Successful will change the way you look at the artist/gallery relationship, and will set your art career on a new path.About the AuthorArt flows through Xanadu Gallery owner J. Jason Horejs veins. Second generation in the art business, (Horejs father is a nationally recognized oil painter John Horejs) Horejs life has always been filled with art. Though not interested in pursuing a life as an artist, Horejs fell in love with the business side of art at an early age. At age 12, the future gallery owner was employed by his father building custom canvas stretchers.In 1991, at the age of 17, Horejs began working for Legacy Gallery in Scottsdale, AZ, where he learned the gallery business from the ground up. Horejs handled logistics, shipping and installation, eventually working into a sales position at the western art gallery. Horejs worked in the gallery s Scottsdale and Jackson Hole, WY, locations.In 2001, Jason and his wife, Carrie, opened Xanadu Gallery in Scottsdale. In spite of opening on September 11th into a completely changed art world, Horejs built the gallery into a successful venture, showing dozens of artists and selling to collectors from around the world, including major municipal and private collections.In 2008, Horejs developed a series of art marketing workshops designed to help artists better understand the gallery business and better prepare themselves to approach galleries. This series of workshops has helped hundreds of artists get organized to show and sell their work through galleries."I discovered," says Horejs, "there was very little information out there for the aspiring professional artist regarding the business side of art, especially in terms of the crucial relationship between the artists and the fine art gallery. Even artists who have graduated with master s degrees leave school having never heard a word about how to approach galleries."Horejs observes that artists approaching his gallery are making many of the same mistakes, not because their work isn t gallery-ready, but simply because they don t have a clear idea of how to proceed. Horejs designed his workshops working closely with his parents and other artists who have learned the ropes of working with galleries by trial and error. The clear-headed advice the gallery owner gives is designed to give the artists concrete steps they can take to prepare their work, research galleries and approach galleries for representation.

    Views (1975) went straight to number one in the Sunday Times bestseller list and went on to sell over a million copies. Magnetic Storm (1984) sold over 650,000 copies. These new editions, reworked to accompany the publication of the third book in the trilogy, Dragon's Dream, showcase the instantly recognizable work of Roger Dean. Views showcases the first seven years of Roger Dean's work after his graduation from the Royal College of Art in 1968. It includes paintings and graphics; branding such as the Yes typography and the first Virgin Records logo; groundbreaking stage sets; and album art including iconic early Yes covers such as the award-winning Tales From Topographic Oceans. The new edition streamlines the original square format and retains the combination of concept sketches and brilliantly displayed finished work. Featuring a new foreword, revised typography, and graphic openers and identifying icons, Views showcases and celebrates the art that defined an era.

    It is packed with stories and anecdotes from behind the image. There are tips on using social media to get your images seen by millions. The book offers advice on hiking, travel and the great outdoors as well as useful information on technical subjects such as where to focus and shooting RAW. After reading this book, not only will your photography start to improve, but you will be inspired to get up and out at dawn and stay out until dark. This book is for the beginner as well as the seasoned professional. Travel, Learn, Explore, Shoot.