Renowned art historian Martin Kemp takes the reader on an extraordinary trip through art, from devotional works to the revolutionary techniques of the Renaissance, from the courtly Masters of the seventeenth century through to the daring avant-garde of the twentieth century and beyond.

    To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon exhaustive personal observation of the phenomena of color.Of his own theory, Goethe was supremely confident: "From the philosopher, we believe we merit thanks for having traced the phenomena of colours to their first sources, to the circumstances under which they appear and are, and beyond which no further explanation respecting them is possible."Goethe's scientific conclusions have, of course, long since been thoroughly demolished, but the intelligent reader of today may enjoy this work on quite different grounds: for the beauty and sweep of his conjectures regarding the connection between color and philosophical ideas; for an insight into early nineteenth-century beliefs and modes of thought; and for the flavor of life in Europe just after the American and French Revolutions.The work may also be read as an accurate guide to the study of color phenomena. Goethe's conclusions have been repudiated, but no one quarrels with his reporting of the facts to be observed. With simple objects -- vessels, prisms, lenses, and the like -- the reader will be led through a demonstration course not only in subjectively produced colors, but also in the observable physical phenomena of color. By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory -- Goethe never even mentions it -- that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.

    At every stage of civilization, people have relied on symbolic expression, and advances in science and technology have only increased our dependence on symbols. The language of symbols is considered a science, and this informative volume offers an indispensable tool in the study of symbology. It can be used as a reference or simply browsed for pleasure. Many of its entries — those on architecture, mandala, numbers, serpent, water, and zodiac, for example — can be read as independent essays. The vitality of symbology has never been greater: An essential part of the ancient arts of the Orient and of the Western medieval traditions, symbolism underwent a 20th-century revival with the study of the unconscious, both directly in the field of dreams, visions, and psychoanalysis, and indirectly in art and poetry. A wide audience awaits the assistance of this dictionary in elucidating the symbolic worlds encountered in both the arts and the history of ideas.

    Established by papal bull in 1478, the first task of the Spanish Inquisition was to question Jewish converts to Christianity and to expose and execute those found guilty of reversion. Authorities then turned on Spanish Jews in general, sending 300,000 into exile. Next in line were humanists and Lutherans. No rank was exempt. Children informed on their parents, merchants on their rivals, and priests upon their bishops. Those denounced were guilty unless they could prove their innocence. Nearly 32,000 people were publicly burned at the stake; the “fortunate” ones were flogged, fined, or imprisoned.Joseph Pérez tells the history of the Spanish Inquisition from its medieval beginnings to its nineteenth-century ending. He discovers its origins in fear and jealousy and its longevity in usefulness to the state. He explores the inner workings of its councils, and shows how its officers, inquisitors, and leaders lived and worked. He describes its techniques of interrogation and torture, and shows how it refined displays of punishment as instruments of social control. The author ends his fascinating account by assessing the impact of the Inquisition over three and a half centuries on Spain’s culture, economy, and intellectual life.

    Carefully selected by a team of international critics, each album is a groundbreaking work seminal to the understanding and appreciation of music from the 1950s to the present. Included with each entry are production details and credits as well as reproductions of original album cover art. Perhaps most important of all, each album featured comes with an authoritative description of its importance and influence. Among the critics involved in selecting the list are some of the best known music reviewers and commentators, including Theunis Bates (music writer for Time and urban editor at worldpop.com), Jon Harrington (staff writer at MTV), Seth Jacobson (writer for Dazed & Confused), as well as many others.

    But the culture and science thereby brought to Spain, including long-buried knowledge from Greece, largely forgotten during Europe’s Dark Ages, was to have an enduring impact on the country as it emerged into the modern era. In this gracefully written history, Richard Fletcher reveals the Moorish culture in all its fascinating disparity and gives us history at its best: here is vivid storytelling by a renowned scholar.

    The worlds of Milan and Rome through which Caravaggio moved and which Andrew Graham-Dixon describes brilliantly in this book, are those of cardinals and prostitutes, prayer and violence. Graham-Dixon puts the murder of a pimp, Ranuccio Tomassoni, at the centre of his story. It occurred at the height of Caravaggio’s fame in Rome and probably brought about his flight through Malta and Sicily, which led to his death in suspicious circumstances off the coast of Naples. Graham-Dixon shows how Caravaggio’s paintings emerged from this extraordinarily wild and troubled life: his detailed readings of them explain their originality and Caravaggio’s mentality better than any of his predecessors.

    It is considered a pioneering essay for both feminist art history and feminist art theory.In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural". In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question "Why have there been no great women artists?" is based; by questioning the validity of the formulation of so-called problems in general and the "problem" of women specifically; and then, by probing some of the limitations of the discipline of art history itself."

    LUCIFER HIMSELF IS THE STAR OF THIS BOOK, WHICH CONTAINS IMAGES OF HIM THROUGHOUT THE HISTORY OF ART. ETCHINGS, WOODCUTS, PAINTINGS, ILLUSTRATIONS, DRAWINGS, PHOTOGRAPHS, AND ADVERTISEMENTS FEATURING OF THE DEVIL, BY THE LIKES OF DA VINCI, BOSCH, PIERRE ET GILLES, GIGER, AND MANY MORE, POPULATE THE PAGES OF THIS SUPREMELY "EVIL" BOOK.

    This book offers a fresh perspective on various developments shaping our cultural history.

    From Egyptian wall paintings to the Venetian Renaissance, impressionism to digital images, Philip Ball tells the fascinating story of how art, chemistry, and technology have interacted throughout the ages to render the gorgeous hues we admire on our walls and in our museums.Finalist for the 2002 National Book Critics Circle Award.

    In The Cultural Cold War, Frances Stonor Saunders reveals the extraordinary efforts of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were working for or subsidized by the CIA—whether they knew it or not.Called “the most comprehensive account yet of the [CIA’s] activities between 1947 and 1967” by the New York Times, the book presents shocking evidence of the CIA’s undercover program of cultural interventions in Western Europe and at home, drawing together declassified documents and exclusive interviews to expose the CIA’s astonishing campaign to deploy the likes of Hannah Arendt, Isaiah Berlin, Leonard Bernstein, Robert Lowell, George Orwell, and Jackson Pollock as weapons in the Cold War. Translated into ten languages, this classic work—now with a new preface by the author—is “a real contribution to popular understanding of the postwar period” (The Wall Street Journal), and its story of covert cultural efforts to win hearts and minds continues to be relevant today.

    Extensive glossary and updated bibliography. 833 illustrations, including 105 in full color.

    Un retrato de una artista, sobre todo una artista.(Portrait of an artist, always an artist, above all an artist.)

    From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso's blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history.In this book, Kassia St. Clair has turned her lifelong obsession with colors and where they come from (whether Van Gogh's chrome yellow sunflowers or punk's fluorescent pink) into a unique study of human civilization. Across fashion and politics, art and war, the secret lives of color tell the vivid story of our culture.