This accessible new study provides the most comprehensive view of the movement to date. It shows us why, a century and a half later, Pre-Raphaelite art retains its power to fascinate, haunt, and often shock its viewers. Calling themselves the Pre-Raphaelite Brotherhood, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt produced a statement of ideas that revolutionized art practice in Victorian England. Critical of the Royal Academy's formulaic works, these painters believed that painting had been misdirected since Raphael. They and the artists who joined with them, including William Michael Rossetti, James Collinson, and Frederick George Stephens, created bright works representing nature and literary themes in fresh detail and color. Considered heretical by many and frequently admonished for a lack of grace in composition the group disbanded after only a few years. Yet its artists and ideals remained influential; its works, greatly admired. In this richly illustrated book, Elizabeth Prettejohn raises new and provocative questions about the group's social and artistic identity. Was it the first avant-garde movement in modern art? What role did women play in the Pre-Raphaelite fraternity? How did relationships between the artists and models affect the paintings? The author also analyzes technique, pinning down the distinctive characteristics of these painters and evaluating the degree to which a group style existed. And she considers how Pre-Raphaelite art responded to and commented on its time and place a world characterized by religious and political controversy, new scientific concern for precise observation, the emergence of psychology, and changing attitudes toward sexuality and women. The first major publication on the Pre-Raphaelite movement in more than fifteen years, this exquisite volume incorporates the swell of recent research into a comprehensive, up-to-date survey. It comprises well over two hundred color reproductions, including works that are immediately recognizable as Pre-Raphaelite masterpieces, as well as lesser-known paintings that expand our appreciation of this significant artistic departure.

    Celebrated by some for his naturalism and his revolutionary pictorial inventions, he was considered by others to have destroyed painting. Few other artists have provoked such controversy and so many contradictory interpretations right up to modern times.  On the heels of Caravaggio year 2010, this work offers a comprehensive reassessment of Caravaggio’s entire oeuvre, with a catalogue raisonné of his works. Five introductory chapters analyze his artistic career from his training in Lombard Milan and his triumphal rise in papal Rome, up to his dramatic final years in Naples, Malta, and Sicily. The spotlight thereby falls upon the radical nature and innovative force of Caravaggio’s art and its influence in all of Europe.   Our understanding of Caravaggio’s work has been substantially broadened in recent decades by major exhibitions, restoration campaigns, new attributions and archival discoveries. The new catalogue raisonné offers a detailed overview of the artist’s entire oeuvre based on the latest research. Every painting is reproduced in large-scale format, with spectacular details that offer dramatic close-ups and set new standards in print quality. A new photographic campaign has been undertaken, enabling the smallest details to be reproduced on a large scale for the first time.They reveal all the more clearly Caravaggio’s virtuosity and his enormous ability to capture the viewer’s attention and to build a communicative bridge between the worlds of picture and viewer. Sequences of spectacular details grouped by subject allow us to experience Caravaggio’s ingenious rhetoric of looks and gestures and their theatrical staging in paint.

    Fold-out pages featuring photographs of their early work, their studios and materials, as well as sketches and finished art create an exuberant feast for the eye that will attract both children and adults. Self-portraits of each illustrator crown this important anthology that celebrates the artists and the art of the picture book. An event book for the ages. Proceeds from the book will benefit the Eric Carle Museum of Picture Book Art in Amherst, MA.

    Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    Ceram visualized archeology as a wonderful combination of high adventure, romance, history and scholarship, and this book, a chronicle of man's search for his past, reads like a dramatic narrative. We travel with Heinrich Schliemann as, defying the ridicule of the learned world, he actually unearths the remains of the ancient city of Troy. We share the excitement of Lord Carnarvon and Howard Carter as they first glimpse the riches of Tutankhamen's tomb, of George Smith when he found the ancient clay tablets that contained the records of the Biblical Flood. We rediscover the ruined splendors of the Hanging Gardens of Babylon, one of the wonders of the ancient wold; of Chichen Itza, the abandoned pyramids of the Maya: and the legendary Labyrinth of tile Minotaur in Crete. Here is much of the history of civilization and the stories of the men who rediscovered it.From the Paperback edition.

    Yet the struggles they each faced rang with eerie similarity. These courageous women from across the globe-Pakistan, India, Romania, Former Soviet Union, China, Vietnam, Nepal, Indonesia-shared similar experiences of hardship, subjugation, and persecution, all because of their faith in Christ. Yet all of these women have emerged from adversity as leaders and heroines.The eight modern-day pilgrims featured in "Hearts of Fire" are the hidden jewels in the church universal. They are worthy role models of faith and passion, and women of every age will gain new strength and hope for their own times of crisis and trial as they read these inspiring stories. Each story concludes with thoughtful self-reflection questions for the reader.

    It features a compelling and accessible design, beautiful color reproductions, and up-to-date descriptions written by the Museum's own experts.More than a simple souvenir book, The Metropolitan Museum of Art Guide provides a comprehensive view of art history spanning five millennia and the entire globe, beginning with the Ancient World and ending in contemporary times. It includes media as varied as painting, photography, costume, sculpture, decorative arts, musical instruments, arms and armor, works on paper, and many more. Presenting works ranging from the ancient Egyptian Temple of Dendur to Canova's Perseus with the Head of Medusa to Sargent's Madame X, this is an indispensable volume for lovers of art and art history, and for anyone who has ever dreamed of lingering over the most iconic works in the Metropolitan's unparalleled collection.Now available as an eBook!The guide is now available to read on your tablet, mobile phone or personal computer. The Metropolitan Museum of Art Guide eBook provides the same features as the printed version along with digital enhancements such as a linked table of contents for easy navigation, a double-click to zoom on works of art, and additional views of artworks. Like the print version, this eBook features a compelling and accessible design, beautiful photography, and up-to-date descriptions written by the Museum's own experts.The eBook is now available on Amazon Kindle, Apple iBooks and Google Play.

    While many of these are among his most famous, others may be less well known, but they are all essential to the development of Dalis artistic philosophy.

    But whether they were in the Louvre or the Prado, the Mauritshuis of the Palazzo Pitti, they reveal the pleasures of truly looking.De Montebello shares the sense of excitement recorded by Goethe in his autobiography—"akin to the emotion experienced on entering a House of God"—but also reflects on why these secular temples might nevertheless be the "worst possible places to look at art." But in the end both men convey, with subtlety and brilliance, the delights and significance of their subject matter and some of the intense creations of human beings throughout our long history.

    It is here where the twelve-year-old Emilie meets the controversial libertine and painter. Hired by her bourgeois father for basic drawing lessons, Klimt introduces Emilie to a subculture of dissolute artists, wanton models, and decadent patrons that both terrifies and inspires her. The Painted Kiss follows Emilie as she blossoms from a naïve young girl to one of Europe's most exclusive couturiers—and Klimt's most beloved model and mistress. A provocative love story that brings to life Vienna's cultural milieu, The Painted Kiss is as compelling as a work by Klimt himself.~from the back cover

    but it's all true. The Scarlet and the Black tells the astonishing and heroic true story of Monsignor Hugh O'Flaherty, the man dubbed "The Scarlet Pimpernel of the Vatican" during World War II.Born in Killarney, Ireland, Hugh O’Flaherty was an avid athlete? becoming a formidable boxer, handball player, hurler, and golfer. From an early age, however, he knew his calling was to the priesthood. After his ordination, he served first as an Apostolic Delegate in Egypt, Haiti, Santo Domingo, and Czechoslovakia, then in Rome at the Holy Office (now the Congregation for the Doctrine of the Faith). It was here in Rome that his greatest work began. After the surrender of Italy in 1943, Rome came under the command of Nazi Colonel Herbert Kappler of the dreaded SS, who began the deportation of Italian Jews to Auschwitz. Kappler was a notorious hater of the Jews, persecuting them at every turn. As a top man in the Vatican Holy Office, Msgr. O’Flaherty sprang into action, organizing a sophisticated team that included men and women of many nationalities, religions, and political views. There was one goal? to save Jews and POWs from the Nazi machine. Despite Kappler’s numerous attempts to assassinate him, O’Flaherty persisted, and his efforts saved thousands of Jews and POWs.Using private homes and apartments, churches and monasteries, the effort was all orchestrated by Msgr. O’Flaherty. Each day his familiar figure would stand on the steps of St. Peter’s - neutral ground that even the Nazis wouldn’t violate - to welcome any fugitives who might be sent his way. All told, of 9,700 Roman Jews, most were saved, with 1,007 shipped to Auschwitz. The rest were hidden, 5,000 of them by the official Church - 3,000 at the Pope’s Castel Gandolfo, 200 or 400 (estimates vary) as "members" of the Palatine Guard, and some 1,500 in monasteries, convents and colleges. The remaining 3,700 were hidden in private homes, including Msgr. O'Flaherty's network of apartments. After the war, O’Flaherty was honored by various Allied countries with awards and decorations for his heroic acts to save Jews and POWs. -- IllustratedPara cientos de personas huidas -prisioneros aliados, refugiados, judíos y no judíos a quienes los nazis buscaban por diversos motivos- uno de los más grandes héroes de la Segunda Guerra Mundial es el espigado y jovial sacerdote irlandés Monseñor Hugh Joseph Q’Flaherty. Durante toda la guerra trabajó en el Vaticano; aprovechó esta circunstancia para organizar por su cuenta, extraoficialmente, un sistema de eficacia increíble, con el fin de dar albergue a innumerables refugiados. El relato de sus aventuras es una historia excitante, que arroja una luz reveladora sobre uno de los aspectos menos conocidos de la Guerra. Después de la liberación, Mons. Q’Flaherty fue condecorado por Italia, Canadá y Australia, recibió la Medalla norteamericana de la Libertad y nombrado Comendador del Imperio Británico. Herbert Kappler fue sentenciado a cadena perpetua por crímenes de guerra. En los largos años que estuvo en la prisión italiana, Kappler tuvo un solo visitante: todos los meses, año tras año, Q’Flaherty iba a visitarle. En 1959, el antiguo jefe de la Gestapo de Roma recibió el bautismo de manos del sacerdote irlandés.

    Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955-56. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt and others. The 83 original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. This volume is a reprint of the 2009 edition.

    His technique-which earned him a reputation as "The Norman Rockwell of cheesecake"-involved photographing models and then painting them into gorgeous hyper-reality, with longer legs, more flamboyant hair and gravity-defying busts, and in the process making them the perfect moral-boosting eye-candy for every homesick private.

    His main pictorial elements are horizontals and verticals, his preferred colours yellow, red and blue. Throughout his life, Mondrian (1872-1944) applied these elements in his quest for 'universal harmony'. This album presents his work.

    With Edward Lucie-Smith on Pop Art, Suzi Gablik on Minimal Art, Norbert Lynton on Expressionism, and Sarah Whitfield on Fauvism, to name a few, these scholarly essays illuminate each particular artistic movement of the century, and together form an entire history of modern art. 123 illus.