In Portraits, Berger connects art and history in revolutionary ways, from the prehistoric paintings of the Chauvet caves to Randa Mdah’s work about contemporary Palestine. In his penetrating and singular prose, Berger presents entirely new ways of thinking about art history, and artists both canonized and obscure, from Rembrandt to Henry Moore, Jackson Pollock to Picasso. Throughout, Berger maintains the essential connection between politics, art and the wider study of culture. A beautifully illustrated walk through many centuries of visual culture from one of the contemporary world's most incisive critical voices.

    They snatched one of the world's most famous paintings, Edvard Munch's The Scream, and fled with their $72 million trophy. The thieves made sure the world was watching: the Winter Olympics, in Lillehammer, began that same morning. Baffled and humiliated, the Norwegian police called on the world's greatest art detective, a half-English, half-American undercover cop named Charley Hill. In this rollicking narrative, Edward Dolnick takes us inside the art underworld. The trail leads high and low, and the cast ranges from titled aristocrats to thick-necked thugs. Lord Bath, resplendent in ponytail and velvet jacket, presides over a 9,000-acre estate. David Duddin, a 300-pound fence who once tried to sell a stolen Rembrandt, spins exuberant tales of his misdeeds. We meet Munch, too, a haunted misfit who spends his evenings drinking in the Black Piglet Café and his nights feverishly trying to capture in paint the visions in his head. The most compelling character of all is Charley Hill, an ex-soldier, a would-be priest, and a complicated mix of brilliance, foolhardiness, and charm. The hunt for The Scream will either cap his career and rescue one of the world's best-known paintings or end in a fiasco that will dog him forever.

    But what of man-made art? Much of it is devoid of sacred beauty and is often rejected by Christians. Christian artists struggle to find acceptance within the church.Encourages Christian artists in the pursuit of their calling and provides artists and non-artists alike a short introduction to thinking Christianly about the arts.

    From fashion to music, Goth influences have crept into every area of pop culture, and nowhere is that influence creepier, more fascinating, and more playful than in the art world. Weirdo Noir is the follow-up volume to Weirdo Deluxe, the book that brought the once underground Low Brow art scene to prominence in the public eye. In these pages you'll find the latest and greatest work from 30 Low Brow arists who have embraced the dark side, employing gothic themes in their art. Spooky and witty, Weirdo Noir is destined to become a classic of the millennial Goth aesthetic.

    A relative unknown at the time, Sargent won the commission to paint her; the two must have recognized in each other a like-minded hunger for fame.Unveiled at the 1884 Paris Salon, Gautreau's portrait generated the attention she craved-but it led to infamy rather than stardom. Sargent had painted one strap of Gautreau's dress dangling from her shoulder, suggesting either the prelude to or the aftermath of sex. Her reputation irreparably damaged, Gautreau retired from public life, destroying all the mirrors in her home.Drawing on documents from private collections and other previously unexamined materials, and featuring a cast of characters including Oscar Wilde and Richard Wagner, Strapless is a tale of art and celebrity, obsession and betrayal.

    In this her fourth book she reveals in depth the techniques she uses to produce her stunning works of art. Every aspect of botanical painting is covered, including the materials and tools you need, preserving your specimens, drawing, painting, color mixing and composition. Richly illustrated throughout with step-by-step demonstrations and examples of Billy’s work, this book is a visual feast as well as an invaluable source of expert guidance and inspiration. With a diverse range of subjects that include flowers, foliage, fruit and vegetables, Billy provides an insight into her painting techniques that artists of all abilities will find both informative and inspirational.

    Seuss as an iconic American artist. Illustrator by day, surrealist by night, Dr. Seuss created a body of little-known work that he called his “Midnight Paintings.” For sixty years, this work allowed Geisel to expand his artistic boundaries outside the confines of commercial influences and deadlines.A handsome slipcase holds the cloth-covered edition of The Cat Behind the Hat, along with four lithographs ready for framing. The book exuberantly juxtaposes Geisel’s “Midnight Paintings” with his best-loved children’s books. Though he fiercely protected his “Midnight Paintings” from criticism during his lifetime, his intention all along was for these works to be seen when he was gone. This comprehensive look at the art that he created over his lifetime is an eye-opening peek behind the public persona into the real story of the man who was Dr. Seuss.

    After a dozen years at the court of Lodovico Sforza, the Duke of Milan, Leonardo was at a low point personally and professionally: at forty-three, in an era when he had almost reached the average life expectancy, he had failed, despite a number of prestigious commissions, to complete anything that truly fulfilled his astonishing promise. His latest failure was a giant bronze horse to honor Sforza's father: His 75 tons of bronze had been expropriated to be turned into cannons to help repel a French invasion of Italy. The commission to paint The Last Supper in the refectory of a Dominican convent was a small compensation, and his odds of completing it were not promising: Not only had he never worked on a painting of such a large size-15' high x 30' wide-but he had no experience in the extremely difficult medium of fresco.  In his compelling new book, Ross King explores how-amid war and the political and religious turmoil around him, and beset by his own insecurities and frustrations-Leonardo created the masterpiece that would forever define him. King unveils dozens of stories that are embedded in the painting. Examining who served as the models for the Apostles, he makes a unique claim: that Leonardo modeled two of them on himself. Reviewing Leonardo's religious beliefs, King paints a much more complex picture than the received wisdom that he was a heretic. The food that Leonardo, a vegetarian, placed on the table reveals as much as do the numerous hand gestures of those at Christ's banquet. As King explains, many of the myths that have grown up around The Last Supper are wrong, but its true story is ever more interesting. Bringing to life a fascinating period in European history, Ross King presents an original portrait of one of the world's greatest geniuses through the lens of his most famous work.

    Yet unsanctioned public art remains the problem child of cultural expression, the last outlaw of visual disciplines. It has also become a global phenomenon of the 21st century. Made in collaboration with featured artists, Trespass examines the rise and global reach of graffiti and urban art, tracing key figures, events and movements of self-expression in the city's social space, and the history of urban reclamation, protest, and illicit performance. The first book to present the full historical sweep, global reach and technical developments of the street art movement, Trespass features key works by 150 artists, and connects four generations of visionary outlaws including Jean Tinguely, Spencer Tunick, Keith Haring, Os Gemeos, Jenny Holzer, Barry McGee, Gordon Matta-Clark, Shepard Fairey, Blu, Billboard Liberation Front, Guerrilla Girls and Banksy, among others. It also includes dozens of previously unpublished photographs of long-lost works and legendary, ephemeral urban artworks. Also includes: • Unpublished images of street art by Keith Haring and Jean-Michel Basquiat • Unpublished photographs by Subway Art luminary Martha Cooper • Unpublished photos from the personal archives of selected artists • Incisive essays by Anne Pasternak (director of public arts fund Creative Time) and civil rights lawyer Tony Serra • Special feature: exclusive preface by Banksy

    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.

    Longtime skateboard artist Sean Cliver put together this staggering survey of over 1,000 skateboard graphics from the last 30 years, creating an indispensable insiders' history as he did so.Alongside his own history, Sean has assembled a wealth of recollections and stories from prominent artists and skateboarders such as: Andy Howell, Barry McGee, Ed Templeton, Steve Caballero, and Tony Hawk.The end result is a fascinating historical account of art in the skateboard subculture, as told by those directly involved with shaping its legendary creative face.

    The trove included massive, multi-volume illustrated manuscripts, double-sided nine-foot-long watercolor murals, photo-enlarged tracings, and hundreds of sketches. Depicting a turbulent world, these works are the product of the fertile yet tormented imagination of a secretive Chicago janitor who has since been recognized as one of the supreme self-taught artists of the 20th century.Cataloguing in full color the American Folk Art Museum's recent acquisition of 37 paintings, among other Darger works, this informative yet affordable volume offers a general introduction to a controversial self-taught artist.

    The stylishness and vibrant color of Disney films in the early 1940s through mid-1950s came primarily from artist Mary Blair. In her prime, she was an amazingly prolific American artist who enlivened and influenced the not-so-small worlds of film, print, theme parks, architectural decor, and advertising. At its core, her art represented joyful creativity and communicated pure pleasure to the viewer. Her exuberant fantasies brimmed with beauty, charm, and wit, melding a child's fresh eye with adult experience. Blair's personal flair comprised the imagery that flowed effortlessly and continually for more than a half a century from her brush. Emulated by many, she remains inimitable: a dazzling sorceress of design and color.

    Focusing in Part I on the Olmec heads of early Mesoamerica, the colossal statues of the pharaoh Amenhotep III, and the nudes of classical Greece, Beard explores the power, hierarchy, and gender politics of the art of the ancient world, and explains how it came to define the so-called civilized world. In Part II, Beard chronicles some of the most breathtaking religious imagery ever made—whether at Angkor Wat, Ravenna, Venice, or in the art of Jewish and Islamic calligraphers— to show how all religions, ancient and modern, have faced irreconcilable problems in trying to picture the divine. With this classic volume, Beard redefines the Western-and male-centric legacies of Ernst Gombrich and Kenneth Clark.

    Considering Indian art within a chronological framework, Vidya Dehejia analyses the great cities of the Indus civilization, the serene Buddha image, the intriguing art of cave sites, the sophisticated temple-building traditions, the luxurious art of the Mughal court, the palaces and pavilions of Rajasthan, the churches of Portuguese Goa, the various forms of art in the British Raj and the issues related to taking Indian art into the twenty-first century.