Inspiration, spontaneity, temperament are unknown to me. One has to do the same subject ten times, even a hundred times over. In art, nothing should look like chance, not even movement." Edgar Degas In terms of both theme and technique, the key to understanding the early work of Edgar Degas (1834-1917) is classical painting. Although he was eventually associated with the Impressionists and even participated in their joint exhibitions, Degas never adopted a purely Impressionist approach. Degas's work, reflecting an extremely personal and psychological perspective, emphasizes the scenic or concentrates on the detail. Thus, Degas's painting is often discussed with reference to the rise of short-exposure photography. Thematically, nature proved less interesting to the artist than the life and inhabitants of the modern metropolis. Degas primarily sought his motifs in ballet salons, at the race track or circus, or in bedrooms - but dancers always remained his favorite theme. About the Series: Each book in TASCHEN's Basic Art Series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 colour illustrations with explanatory captions

    Through books such as ‘Private Peaceful’, ‘Kensuke’s Kingdom’ and ‘The Wreck of the Zanzibar’ he has enchanted a whole generation of children, weaving stories for them in a way that is neither contrived nor condescending. His is a rare gift. But it is not only children he holds in his thrall. In 2007, Michael’s novel ‘War Horse’ was adapted for the stage by the National Theatre. Five years on, it continues to play to packed audiences of all ages in the West End and New York, and later this year it will tour America, as well as opening in Toronto and Australia. Steven Spielberg, meantime, has made it into a film. The story of a Devon horse sent to fight on the Western Front has made Michael Morpurgo a household name. Michael’s own story is as strange and surprising as any he has written, and is shot through with the same thread of sadness found in almost all his work. How did this supremely unbookish boy who dreamed of becoming an army officer become a bestselling author instead? What personal price has he paid for success? And why, amidst his triumphs, is he now haunted by regret? In a unique collaboration, Maggie Fergusson explores Michael Morpurgo’s life through seven biographical chapters, to which he responds with seven stories. The biographical portrait that emerges is one of light and shade: the light very bright, the shade complex and often painful. Maggie Fergusson is Secretary of the Royal Society of Literature and Literary Editor of the Economist magazine Intelligent Life. Her first book, George Mackay Brown: the Life, won the Saltire First Book Prize, the Marsh Biography Award, the Yorkshire Post Non-Fiction Book of the Year Award and the Scottish Arts Council Biography Award.

    I also hope that it will serve as a useful reference too for the many workers engaged in one type of solid state research activity or another, who may be without formal training in the subject.

    He follows the changing trends in the making and significance of art in different cultures, and explains why the art of the day looked and functioned as it did. Key images and objects-some of them familiar works of art; others, less known but equally crucial to the story-act as landmarks on the journey, focal points around which the discussion always centers. Along the way, Bell answers fundamental questions such as "What is art and where does it start?" and "Why do humans make it and how does it serve them?"Previous histories tended to focus only on the masterpieces of Western art, in the process excluding the work of women or non-Western artists, or else considering developments around the world as separate, unrelated phenomena. Bell's achievement is to take a global perspective, bringing the distinct stories together in one convincing narrative. He draws insightful and inspired connections between different continents and cultures and across the millennia, which results in a rich and seamless introduction to the world of visual creativity.Hundreds of carefully selected illustrations show how artists from different ages and societies often shared the same formal, technical, and aesthetic concerns, while others took divergent paths when their vision dictated it.Julian Bell, himself a well-known painter, is the grandson of Vanessa and Clive Bell, key members of the celebrated Bloomsbury group of writers and artists. His books include What is Painting?.

    Here, in a collaboration with art critic Martin Gayford, he explores the many ways that artists have pictured the world, sharing sparkling insights and ideas that will delight every art lover and art maker. Readers who thrilled to Hockney’s Secret Knowledge know that he has an uncanny ability to get into the minds of artists. In A History of Pictures he covers far more ground, getting at the roots of visual expression and technique through hundreds of images—from cave paintings to frames from movies—that are reproduced. It’s a joyful celebration of one of humanity’s oldest impulses.

    Riding rental bikes and carrying a bare minimum of supplies, Rob Cocuzzo and his sixty-fouryear-old father, Stephen, embark on a 425-mile ride from Florence to San Donato Val di Comino, an ancient village in the mountains outside of Rome from which the Cocuzzo family emigrated a hundred years earlier.Prompted by Rob's ailing grandfather, who regrets having never visited his home village, the two cyclists pledge to make the trip in the old man's honor. Despite an expired passport, getting lost, some near misses, and other misadventures, the father and son finally reach the quirky village of San Donato. For Italian Jews in the 1940s, the road to San Donato was one of exile, and many of the people in the village banded together to protect nearly a hundred Jews. While meeting his many new "cousins," Rob attempts to unlock this history and glean what role his family played at the time--resistors or collaborators? The Road to San Donato is a generational story that many Americans share and a travel adventure not to be missed.

    Taking the form of the body in painting or of the relations between image and word, this book presents the poetic enigmas of the Belgian surrealist.

    Delve into 1980s New York as this vivid graphic novel takes you on Basquiat's journey from street–art legend SAMO to international art–scene darling, up until his sudden death. Told through cinematic scenes, this is Basquiat as seen through the eyes of those who knew him, including his father, Suzanne Mallouk, Larry Gagosian, and, most importantly, the man himself. Basquiat is a moving depiction of a troubled artist's life for those interested in both the art and the man who made it.

    Yet Greg's route to the very top was never smooth. He always believed in himself as an athlete and sportsman, but for many years could not find an outlet that allowed him to truly excel.       During his reckless teenage years, he would sometimes sleep rough or indulge in dangerous games such as car surfing, before he found the focus that would help him to get to the very top. But even then, there were still setbacks, as when he fell short in the Beijing Olympics. It served only to spur him on. In London, he became a part of 'Super Saturday' when he joined Mo Farah and Jessica Ennis in winning gold in 45 astonishing minutes of British glory. Condemned by some as a 'lucky' winner, he went on to complete his clean sweep of major titles through sheer determination to succeed. In this long-awaited memoir, he not only reveals the secrets of his remarkable success, but also has plenty to say on the issues that are dominating athletics, such as doping, and much else besides. It is a raw, passionate, entertaining and fascinating read.

     Coming of age in the 1950s, Roiphe, the granddaughter of Jewish immigrants, grew up on Park Avenue and had an adolescence defined by privilege, petticoats, and social rules. At Smith College her classmates wore fraternity pins on their cashmere sweaters and knit argyle socks for their boyfriends during lectures. Young women were expected to give up personal freedom for devotion to home and children. Instead, Roiphe chose Beckett, Proust, Sartre, and Mann as her heroes and sought out the chaos of New York’s White Horse Tavern and West End Bar.  She was unmoored and uncertain, “waiting for a wisp of truth, a feather’s brush of beauty, a moment of insight.” Salvation came in the form of a brilliant playwright whom she married and worked to support, even after he left her alone on their honeymoon and later pawned her family silver, china, and pearls. Her near-religious belief in the power of art induced her to overlook his infidelity and alcoholism, and to dutifully type his manuscripts in place of writing her own.  During an era that idolized its male writers, she became, sometimes with her young child in tow, one of the girls draped across the sofa at parties with George Plimpton, Terry Southern, Doc Humes, Norman Mailer, Peter Matthiessen, and William Styron. In the Hamptons she socialized with Larry Rivers, Jack Gelber and other painters and sculptors. “Moderation for most of us is a most unnatural condition . . . . I preferred to burn out like a brilliant firecracker.” But while she was playing the muse reality beckoned, forcing her to confront the notion that any sacrifice was worth making for art. Art and Madness recounts the fascinating evolution of a time when art and alcohol and rebellion caused collateral damage and sometimes produced extraordinary work. In clear-sighted, perceptive, and unabashed prose, Roiphe shares with astonishing honesty the tumultuous adventure of self-discovery that finally led to her redemption.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    On any given Saturday, in dozens of stadiums across America, you will find crowds in excess of 75,000 gathered to root on their teams. This book is their Bible???a rich and comprehensive reference guide to the game??'s history, tradition and lore. Based on three years of research by the nation??'s foremost football experts, the book features: ???? ???? ??Capsule histories for each of the 119 Division 1-A programs, the Ivy League schools and teams from the SWAC, MEAC and historically black colleges ??????????????Year-by-year schedules and records ??????????????Statistical leaders from every school ??????????????Fightsong lyrics ??????????????Box scores for every bowl game ever played ??????????????4-color insert illustrating the evolution of each school??'s helmet design ??????????????Weekly polls dating back to 1936 ??????????????Essays by the game??'s top wordsmiths (Dan Jenkins, Beano Cook, Chris Fowler, Gene Wojciechowski) ??????????????Plus a lively round table discussion with ESPN??'s popular Game Day Team (Fowler, LeeCorso and Kirk Herbstreit) Packed with tables and charts and designed in an easy-to-read style, the updated ESPN College Football Encyclopedia will continue to dazzle even the most knowledgeable fan.

    Featuring over 450 masterpieces, this best-selling book includes more than 150 oversized details from key paintings.

    His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.

    Possessed of enormous talent and ambition, these two artists -- one trained as a sculptor, the other as a stonecutter -- met as contemporaries in the building yards of St. Peter's in Rome and ended their lives as bitter enemies. Over the course of their careers they became the most celebrated architects of their era, designing some of the most beautiful buildings in the world and transforming the city of Rome.The Genius in the Design is an extraordinary tale of how these two men plotted, schemed, and intrigued to get the better of each other. Full of dramatic tension and great insight into personalities, acclaimed writer Jake Morrissey's engrossing and impeccably researched account also shows that this legendary rivalry defined the Baroque style that immediately succeeded the Renaissance and created the spectacular Roman cityscape of today.Almost exactly the same age -- Bernini was born at the end of 1598, Borromini nine months later -- they were as alike and as different as any two men could be, each a potent combination of passion and enterprise, energy and imperfection. Bernini was a precocious talent who as a youth caught the attention of Pope Paul V and became Rome's most celebrated artist, whose patrons included the wealthiest families in Europe. The city's greatest sculptor -- the creator of such masterpieces as Apollo and Daphne and the Ecstasy of St. Teresa -- Bernini would also have been Rome's preeminent architect had it not been for Francesco Borromini, the one man whose talent and virtuosity rivaled his own. In contrast to Bernini's easy grace, Borromini was an introvert with a fiery temper who bristled when anyone interfered with his vision; his temperament alienated him from prospective patrons and precipitated his tragic end.Like Mozart and Salieri, these two masters were inextricably linked, their dazzling work prodding the other to greater achievement while taking merciless advantage of each other's missteps. The Genius in the Design is their story, a fascinating narrative of beauty and tragedy marked at turns by personal animosity and astonishing artistic achievement.