Working with the full cooperation of the Van Gogh Museum in Amsterdam, Naifeh and Smith have accessed a wealth of previously untapped materials to bring a crucial understanding to the larger-than-life mythology of this great artist: his early struggles to find his place in the world; his intense relationship with his brother Theo; and his move to Provence, where he painted some of the best-loved works in Western art. The authors also shed new light on many unexplored aspects of Van Gogh’s inner world: his erratic and tumultuous romantic life; his bouts of depression and mental illness; and the cloudy circumstances surrounding his death at the age of thirty-seven.   Though countless books have been written about Van Gogh, no serious, ambitious examination of his life has been attempted in more than seventy years. Naifeh and Smith have re-created Van Gogh’s life with an astounding vividness and psychological acuity that bring a completely new and sympathetic understanding to this unique artistic genius.

    The Charles of the painting was young—too young to be king—and yet also too young to be painted by the Flemish painter to which the work was attributed. Snare had found something incredible—but what?His research brought him to Diego Velazquez, whose long-lost portrait of Prince Charles has eluded art experts for generations. Velázquez (1599–1660) was the official painter of the Madrid court, during the time the Spanish Empire teetered on the edge of collapse. When Prince Charles of England—a man wealthy enough to help turn Spain’s fortunes—ventured to the court to propose a marriage with a Spanish princess, he allowed just a few hours to sit for his portrait. Snare believed only Velázquez could have met this challenge. But in making his theory public, Snare was ostracized, victim to aristocrats and critics who accused him of fraud, and forced to choose, like Velázquez himself, between art and family.A thrilling investigation into the complex meaning of authenticity and the unshakable determination that drives both artists and collectors of their work, The Vanishing Velázquez travels from extravagant Spanish courts in the 1700s to the gritty courtrooms and auction houses of nineteenth-century London and New York. But it is above all a tale of mystery and detection, of tragic mishaps and mistaken identities, of class, politics, snobbery, crime, and almost farcical accident. It is a magnificently crafted page-turner, a testimony to how and why great works of art can affect us to the point of obsession.

    He spent the first year of his sobriety close to home, tending his garden, where he cast his mind back over his life, searching for the memories he'd tried to drown in vodka. Lane has gardened for as long as he can remember, and his garden's life has become inseparable from his own. A new bloom on a plant, a skirmish among the birds, the way a tree bends in the wind, and the slow, measured change of seasons invariably bring to his mind an episode from his eventful past. What the Stones Remember is the emerging chronicle of Lane's attempt to face those memories, as well as his new self--to rediscover his life. In this powerful and beautifully written book, Lane offers readers an unflinching and unsentimental account of coming to one's senses in the presence of nature.

    The letters vividly show the artist's life was no bed of roses. Whereas Van Gogh perfectly knew what was sellable, he continued to produce what he considered as honest, 'truthful' art, regardless of current taste. He did not expect the art-buying public to understand the rough appearance of his work. Van Gogh acknowledged that being an artist simply involved struggle, but he believed that one would benefit from adversity, both personally and professionally. "No victory without a battle, no battle without suffering." In Van Gogh's case it seems to have been a never ending battle against poverty, isolation and adversity. Given his circumstances - being financially dependent upon his brother Theo, not selling any work, and getting minimal recognition - his achievements are utterly amazing. This is not a book about Van Gogh's art, but about his life as an artist and human being. By reading it, you will appreciate and understand his work even better. "Van Gogh's Inner Struggle" belongs to the series 'Secrets of Van Gogh'.

    "Most fairy tales end with the girl marrying the prince. That's where mine began", says Diane Von Furstenberg. She didn't have to work, but she did. She lived the American Dream before she was thirty, building a multimillion-dollar fashion empire while raising two children and living life in the fast lane.Von Furstenberg's wrap dress, a cultural phenomenon in the seventies, hangs in the Smithsonian Institution. "No one was making a little bourgeois dress, so I did," she told Newsweek in her 1976 cover story. The dress achieved such popularity that in the five years it was on the market, Diane sold more than five million of them. Her entry into the beauty business in 1979 was as serendipitous and as successful.Diane learned her trade in the trenches, crisscrossing the country to make personal appearances at department stores, selling her dresses and cosmetics. "As I was learning to be a woman and enjoying being one, I was sharing my discoveries, designing for my needs, and making a business of it", she writes. That business had its ups and downs. Eventually, there was so much demand for and exposure of the dress that the market became saturated; on the verge of bankruptcy, she licensed that part of the business, focusing on her fragrance and beauty products.Von Furstenberg's personal world unraveled a bit in 1980 when her mother, Lily, a survivor of Auschwitz, had a breakdown. Diane of course knew about her mother's experience in the camps, though her mother had never wanted to dwell on it. She understood that her own need for freedom came from her mother's lack of it, and that her resilience derived from her mother's life lesson to always turn a negative into a positive.Leaving the glitz of Manhattan and the music of Studio 54 behind, Diane escaped to Bali with her children, returning inspired and renewed. With all of this energy, the cosmetics business flourished. But it grew so fast that in 1983 she found herself undercapitalized and was forced to sell.In 1985, having given up control of her brand to licensees and with her children away at school, Diane turned her back on America and packed for Paris. She spent four years in her new role as part of the literary scene there, trading in her spike heels for flat shoes and tweed.In 1990, she found she missed the chase and returned to New York to regain control of her name and relaunch her company. Frustrated by the degraded status of her brand and dismissed by the retail community, she searched for a new way to reconnect with her customers. She found it through the revolutionary new medium of teleshopping and once again became a success. However, she still wanted to return to retail.In 1997, as the wrap dress was making a comeback with the nostalgia for the seventies, Von Furstenberg, with the help of her beautiful daughter-in-law, Alexandra, redesigned the dress for the nineties and made her name relevant to a whole new generation.Now, at fifty, Diane works to make sense of the contradictions in her life: glamour vs. hard work, European vs. American, daughter of a Holocaust survivor vs. wife of an Austro-Italian prince, mother vs. entrepreneur, lover vs. tycoon. She emerges wiser, stronger, and ever more determined never to sacrifice her passion for life.

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    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.

    Over the course of his life, Guston’s wide reading in literature and philosophy deepened his commitment to his art—from his early Abstract Expressionist paintings to his later gritty, intense figurative works. This collection, with many pieces appearing in print for the first time, lets us hear Guston’s voice—as the artist delivers a lecture on Renaissance painting, instructs students in a classroom setting, and discusses such artists and writers as Piero della Francesca, de Chirico, Picasso, Kafka, Beckett, and Gogol.

    Pieced together, they form a revealing mosaic of the creative mind. It's like viewing an exhibit from the therapist's couch as each entry delves into the mental anguish that afflicts the artist and affects their art.The scope of the artists covered is as varied as their afflictions. Inside, you will find not just the creators of the darkest of dark literature, music, and art. While it does reveal what everyday problem kept Poe's pen to paper and the childhood catastrophe that kept Picasso on edge, it also uncovers surprising secrets of more unexpectedly tormented artists. From Charles Schultz's unrequited love to J.K. Rowling's fear of death, it's amazing the deep-seeded troubles that lie just beneath the surface of our favorite art.As much an appreciation of artistic genius as an accessible study of the creative psyche, Tortured Artists illustrates the fact that inner turmoil fuels the finest work.

    I could not trust even my closest friends to do the job for me. I was worried that they might try to sell you a lie. I feared that they might come up with some words like “James is an above average runner” or worse still, “James is actually quite good at this running thing”. I am not. But I have run across America, 3200 miles in ten weeks during the worst heat wave in living memory. Not many people have done that. I have run in many amazing places over really long distances. Ernest Hemmingway said “there is no skill to writing, you just have to sit at the typewriter and bleed”. That has been my approach to both my running and my writing. I am not sure Churchill had ultra running in mind when he famously quoted his qualifications but that is all I have to offer you here: no skill or talent just blood, sweat, toil and tears smeared over 350 pages and six years. This is not a treatise on how to achieve ultra marathon awesomeness. It is an honest account of what ultra marathon running does to a person. I sincerely hope you don’t finish reading this book with the opinion that I am any good at this. I hope you don’t describe me as being “super human “ or “crazy” or other terms I have grown used to over the years. Instead, my goal is that you might complete the fourth line of this series of logical statements in a similar way to the way that I did at the start of this journey: 1. James is a pretty regular guy 2. He’s done some amazing stuff 3.I’m a pretty regular guy/girl 4. -

    He stood for Modernism but he also embodied tradition. His pictures polarized and divided the art-loving world. The press and general public alike were split over the question: For or against Klimt? This monograph explores Klimt’s oeuvre with particular emphasis upon such contemporary voices. With a complete catalogue of his paintings, including new photographs of the Stoclet Frieze commissioned exclusively for this book, it examines the reactions to Klimt’s work throughout his career. Subjects range from Klimt’s portrayal of women to his adoption of landscape painting. The theory that Klimt was a man of few words who rarely put pen to paper is also dispelled with the inclusion of 179 letters, cards, writings, and other documents from the artist.Contributing authors: Evelyn Benesch, Marian Bisanz-Prakken, Rainald Franz, Anette Freytag, Christoph Grunenberg, Hansjörg Krug, Susanna Partsch, Angelina Pötschner, and Michaela ReichelThe Editor and Author:Tobias G. Natter is an internationally acknowledged expert on art in “Vienna around 1900.” For many years he worked at the Austrian Belvedere Gallery in Vienna, latterly as head curator. He also worked as guest curator at the Tate Liverpool, the Neue Galerie New York, the Hamburger Kunsthalle, the Schirn in Frankfurt am Main, and the Jewish Museum in Vienna. From 2006 to 2011, he directed the Vorarlberg Museum in Bregenz, and from 2011 to 2013 was director of the Leopold Museum in Vienna. In 2014 he founded Natter Fine Arts, which specializes in assessing works of art and developing exhibition concepts. He is the author of TASCHEN’s Gustav Klimt: The Complete Paintings; Art for All: The Colour Woodcut in Vienna around 1900; and Egon Schiele: The Complete Paintings, 1909–1918.Details:Gustav Klimt: The Complete PaintingsTobias G. NatterHardcover with fold-outs, 29 x 39.5 cm, 676 pagesISBN 978-3-8365-2795-8Edition: EnglishSUZY MENKES:“Surely TASCHEN’s Klimt: The Complete Paintings. Each unfolding page — with its strokeable surface of intense paintwork and its meld of Byzantine imagery and Venetian mosaics — brings to life the exotic eroticism of an exceptional artist.”

    It’s an exploration of making, but it’s also a permission slip of sorts from me to you. Permission to grab hold of the things you’re interested in, that fascinate you, and to dive deeper into them to see where they lead you. Through stories from forty-plus years of making and molding, building and break­ing, along with the lessons I learned along the way, this book is meant to be a toolbox of problem solving, complete with a shop’s worth of notes on the tools, techniques, and materials that I use most often. Things like: In Every Tool There Is a Hammer—don’t wait until everything is perfect to begin a project, and if you don’t have the exact right tool for a task, just use whatever’s handy; Increase Your Loose Tolerance—making is messy and filled with screwups, but that’s okay, as creativity is a path with twists and turns and not a straight line to be found; Use More Cooling Fluid—it prolongs the life of blades and bits, and it prevents tool failure, but beyond that it’s a reminder to slow down and reduce the fric­tion in your work and relationships; Screw Before You Glue—mechanical fasteners allow you to change and modify a project while glue is forever but sometimes you just need the right glue, so I dig into which ones will do the job with the least harm and best effects. This toolbox also includes lessons from many other incredible makers and creators, including: Jamie Hyneman, Nick Offerman, Pixar director Andrew Stanton, Oscar-winner Guillermo del Toro, artist Tom Sachs, and chef Traci Des Jardins. And if everything goes well, we will hopefully save you a few mistakes (and maybe fingers) as well as help you turn your curiosities into creations. I hope this book serves as “creative rocket fuel” (Ed Helms) to build, make, invent, explore, and—most of all—enjoy the thrills of being a creator.

    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.

    Drake presents a sublime and dramatic narrative about the high-chic fashion wars of 1970s Paris where two titanic geniuses and rivals, Yves Saint Laurent and Karl Lagefeld, collided and sparked a tumultuous decade.

    The quick brushstrokes of the Impressionists suited his temperament, as did his heavy use of impasto. This helpful volume shows many of van Gogh's best loved works, including the famous self-portrait with a Bandaged Ear, painted after he had cut off part of his ear in a fit of madness, Sunflowers, which were to him a symbol of power and beneficence, and The Starry Night, a painting which clearly expresses intensity and mental turbulence.