The sight dazed and disturbed us profoundly. I was on the edge of tears. Something priceless was dying in front of our eyes. The feeling was bewildering, as if the earth was shaking.” —Ken Follett“[A] treasure of a book.” —The New Yorker In this short, spellbinding book, international bestselling author Ken Follett describes the emotions that gripped him when he learned about the fire that threatened to destroy one of the greatest cathedrals in the world—the Notre-Dame de Paris. Follett then tells the story of the cathedral, from its construction to the role it has played across time and history, and he reveals the influence that the Notre-Dame had upon cathedrals around the world and on the writing of one of Follett's most famous and beloved novels, The Pillars of the Earth. Ken Follett will donate his proceeds from this book to the charity La Fondation du Patrimoine.

    This book provides a solid image of Escher as he saw himself--not as an 'artist' but as an artisan, a graphic artist with heart and soul, obsessed by contrasts and possessed by a unique creativity.

    But one man has been proving them wrong for four decades. In the summer of 1975 Barney Curley, a fearless and renowned gambler, masterminded one of the most spectacular gambles of all time with a racehorse called Yellow Sam. It cost the bookmakers millions of pounds. They said that it could never happen again. But in May 2010, thirty-five years after his first coup, Curley staged the ultimate multimillion pound-winning sequel.The Sure Thing tells the complete story of how he managed to organise the biggest gamble in racing history – and how he then followed up with yet another audacious scheme in January 2014.

    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.

    I was serving in the U.S. Army with my brothers of First Platoon Company A 3/1 11th Bde Americal (23rd Infantry) Division. We were average American sons, fathers, husbands, or brothers who'd enlisted or been drafted from all over the United States and who'd all come from different backgrounds. We came together and formed a brotherhood that will last through time.I share my experiences about weeks of boredom and minutes to hours of terror and surviving the heat, carrying a 60-pound rucksack, monsoons, a forest fire, a typhoon, building a firebase, fear, death and fighting the enemy while mentally, physically, and morally exhausted.

    The Bee Gee's journey from Fifties child act to musical institution is one of pop's most turbulent legends. Barry, Maurice and Robin Gibb somehow managed to survive changing musical fashions and bitter personal feuds to create musical partnership that has already lasted four times as long as The Beatles. Described by the authors as their objective tribute, this unflinching biography chronicles everything - the good, the bad... and the bushed-up. Youthful delinquency, disastrous marriages, bitter lawsuits, gay sex scandals, serious drug problems and the death of younger brother Andy have sometimes made the personal lives of the Brothers Gibb look as bleak as the low spots of a career that once reduced them to playing the Batley Variety Club. Yet every time the Bee Gees roller coaster seemed derailed for good, they recorded and went on to even greater triumphs. Today they are revered among pop music's all-time great performers, producers and songwriters. But the true story of their success and the high price they paid for it has never been fully revealed... until now. This new edition of The Ultimate Biography incorporates a complete listing of every song written or recorded by the Gibbs.

    The fragile icon traveled like a head of state, with armed guards and military surveillance, in a temperature-controlled vault. Masterminding the entire show was First Lady Jacqueline Kennedy, who tirelessly campaigned to persuade National Gallery Director John Walker, French President Charles de Gaulle, and her own husband to debut the legendary smile here. For 88 charmed days, “Lisa Fever” swept the nation as nearly two million Americans attended exhibits in Washington, D.C. and New York. It was the greatest outpouring of appreciation for a single work of art in American history. And as only Jacqueline Kennedy could do, she infused America’s first museum blockbuster show with a unique sense of pageantry, igniting a national love affair with the arts. Gathering rare archival documents and interviews, acclaimed biographer Margaret Leslie Davis has woven a tantalizing saga, filled with international intrigue and the irresistible charm of Camelot and its queen.

    There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work.Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”

     At the time of his incarceration, Kitchin, a Finnish citizen, was working in Russia as a representative for an American firm. He was arrested by the Soviet secret police (known as the OGPU at the time), charged with violating an obscure regulation, held in prison, and then sent to a labor camp located in northern Russia where he describes the brutalities he endured and witnessed. He had the good fortune after a time to be assigned clerical work in the office of the penal camp administration. This undoubtedly saved his life and it also gave him a unique opportunity to observe the inner workings of the OGPU organization. As a citizen of Finland, his case was a matter of concern to the Finnish government, whose efforts finally obtained for him permission to leave Soviet Russia. His physical condition after four horrible years was dire. A year and a half were spent in convalescing, and another year in preparing his notes and writing this memoir of his experiences. Prisoner of the OGBU is one of the only first-hand authentic accounts of the penal camps of the Far North, and it is still relevant today in understanding and studying that brutal period of history. ‘This for the market of Escape from the Soviets, and others of the sort, an account of the piled-up horrors of a prison camp of the Soviet Secret Police. Kitchin was a representative of Finnish interests, and got caught on a technicality and sent for four horrible years to the far north. First hand data of Soviet methods and inefficiencies, of the regime and a revealing picture of behind the scenes, of incredible brutalities. Well done and thrillingly absorbing reading.’ – Kirkus Reviews

    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.

    Sontag develops further the concept of 'transparency'. When anything can be photographed and photography has destroyed the boundaries and definitions of art, a viewer can approach a photograph freely with no expectations of discovering what it means. This collection of six lucid and invigorating essays, the most famous being "In Plato's Cave", make up a deep exploration of how the image has affected society.

    Encompassing a grand sweep of human history, A History of the World in 100 Objects begins with one of the earliest surviving objects made by human hands, a chopping tool from the Olduvai gorge in Africa, and ends with objects which characterise the world we live in today. Seen through MacGregor's eyes, history is a kaleidoscope - shifting, interconnected, constantly surprising, and shaping our world today in ways that most of us have never imagined. A stone pillar tells us about a great Indian emperor preaching tolerance to his people; Spanish pieces of eight tell us about the beginning of a global currency; and an early Victorian tea-set speaks to us about the impact of empire. An intellectual and visual feast, this is one of the most engrossing and unusual history books published in years. 'Brilliant, engagingly written, deeply researched' Mary Beard, Guardian 'A triumph: hugely popular, and rightly lauded as one of the most effective and intellectually ambitious initiatives in the making of 'public history' for many decades' Sunday Telegraph 'Highly intelligent, delightfully written and utterly absorbing ' Timothy Clifford, Spectator 'This is a story book, vivid and witty, shining with insights, connections, shocks and delights' Gillian Reynolds Daily Telegraph

    Comparing modern art not only to pizzas but also to traditional and children's art, Heller shows us how we can refine analytical tools we already possess to understand and enjoy even the most unfamiliar paintings and sculptures.How is a painting like a pizza? Both depend on visual balance for much of their overall appeal and, though both can be judged by a set of established standards, pizzas and paintings must ultimately be evaluated in terms of individual taste. By using such commonsense examples and making unexpected connections, this book helps even the most skeptical viewers feel comfortable around contemporary art and see aspects of it they would otherwise miss. Heller discusses how nontraditional works of art are made--and thus how to talk about their composition and formal elements. She also considers why such art is made and what it means.At the same time, Heller reassures those of us who have felt uncomfortable around avant-garde art that we don't have to like all--or even any--of it. Yet, if we can relax, we can use the aesthetic awareness developed in everyday life to analyze almost any painting, sculpture, or installation. Heller also gives concise answers to the eight questions she is most frequently asked about contemporary art--from how to tell when an abstract painting is right side up to which works of art belong in a museum.This book is for anyone who agrees with art critic Clement Greenberg that All profoundly original art looks ugly at first. It's also for anyone who disagrees. It is for anyone who wants to get more out of a museum or gallery visit and would like to be able to say something more than just yes or no when asked if they like an artist's work.

    Famous Manuscripts - The fascinating world of medieval miniature painting and illumination

    This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper. It includes 125 reproductions of Avedon's greatest work from the entire range of his oeuvre--including fashion photographs, reportage and portraits--and spans from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star Bjork. It also features a small number of color images, including what must be one of the most famous photographic portraits of the twentieth century, -Nastassja Kinski and the Serpent- (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer a sophisticated and thorough composite view of Avedon's career.