The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.

    This eleventh edition has been carefully revised to expand and clarify concepts throughout the text, while adding new material on developing ideas, critical thinking, and time and motion.

    Now available in paperback, Geography of Home reminds us that the house is home to many things. Far more than four walls and a roof, it contains our private and public lives, our families, our memories and aspirations, and reflects our attitudes toward society, culture, the environment, and our neighbors. In a literary tour of the spaces of our homes, noted design essayist Akiko Busch reflects on how we define such elusive qualities as privacy, security, and comfort. Part social history, part architectural history, part personal anecdote, this rich and delightful book uncovers the hidden meanings of the place we call home.

    In it Boyd rallied against Australia's promotion of ornament, decorative approach to design and slavish imitation of all things American.'The basis of the Australian ugliness,' he wrote, 'is an unwillingness to be committed on the level of ideas. In all the arts of living, in the shaping of all her artefacts, as in politics, Australia shuffles about vigorously in the middle - as she estimates the middle - of the road, picking up disconnected ideas wherever she finds them.'Boyd was a fierce critic, and an advocate of good design. He understood the significance of the connection between people and their dwellings, and argued passionately for a national architecture forged from a genuine Australian identity. His concerns are as important now, in an era of suburban sprawl and inner-city redevelopment, as they were half a century ago.Caustic and brilliant, The Australian Ugliness is a masterpiece that enables us to see our surroundings with fresh eyes. This handsome anniversary edition is complemented by Robin Boyd's original sketches for the book and a new afterword by major contemporary architects.

    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.

    It looks at French religious art in the Middle Ages, its forms, and especially the Eastern sources of sculptural iconography used in the cathedrals of France. Fully illustrated with many footnotes it acts as a useful guide for the student of Western culture.

    Heatherwick is known as one of the greatest innovators of our era, and for the first time, this publication provides an inside look at the creation and development of his projects. It answers the one question always asked of Heatherwick's work: How did he do that? The book covers the studio's complete output over more than fifteen years—some 170 projects—including designs large and small: zippered bags that can be expanded to five times their size, a bridge that rolls open and closed, the in-progress one-million-square-foot mall in Hong Kong and glass bridge in London.

    He has left his greatest mark on Rome where Papal patronage provided him with enormous architectural commissions.TABLE OF CONTENTSBerniniList of PlatesList of Text FiguresForewordIntroduction1. The Prodigy2. Bernini in Command3. Disaster and Triumph4. Two Churches and St. Peter’s5. Le Cavalier en France6. The Late WorksBibliographical NoteNotes to the TextIndex

    Oriented toward traditional black and white photography, the book also explores digital techniques and web photography resources, equipment, the exposure and development of film, and the making and finishing of prints.

    James Wines puts up the various - and often irreconcilable - concepts of environmentally-friendly architecture for discussion, making a case for an architecture that not only focuses on technological solutions, but also tries to reconcile man and nature in its formal idiom. Among the examples of contemporary ecological architecture presented are works by Emilio Ambasz, Gustav Peichl, Arthur Quarmby, Jean Nouvel, Sim Van der Ryn, Jourda and Perraudin, Log ID, James Cutler, Stanley Saitowitz, Fran ois Roche, Nigel Coates and Michael Sorkin.

    Its profound impact not only on art historians and theorists but also for generations of creative writers and intellectuals is almost unprecedented. Starting from the notion that beauty derives from our sense of being able to identify with an object, Worringer argues that representational art produces satisfaction from our objectified delight in the self, reflecting a confidence in the world as it is as in Renaissance art. By contrast, the urge to abstraction, as exemplified by Egyptian, Byzantine, primitive, or modern expressionist art, articulates a totally different response to the world: it expresses man s insecurity. Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. Abstraction and Empathy also has a sociological dimension, in that the urge to create fixed, abstract, and geometric forms is a response to the modern experience of industrialization and the sense that individual identity is threatened by a hostile mass society. Hilton Kramer s introduction considers the influence of Worringer s thesis and places his book in historical context."

    This classic textbook examines the artistic movements and achievements of that time.

    The Geography of Nowhere tallies up the huge economic, social, and spiritual costs that America is paying for its car-crazed lifestyle. It is also a wake-up call for citizens to reinvent the places where we live and work, to build communities that are once again worthy of our affection. Kunstler proposes that by reviving civic art and civic life, we will rediscover public virtue and a new vision of the common good. "The future will require us to build better places," Kunstler says, "or the future will belong to other people in other societies."The Geography of Nowhere has become a touchstone work in the two decades since its initial publication, its incisive commentary giving language to the feeling of millions of Americans that our nation's suburban environments were ceasing to be credible human habitats. Since that time, the work has inspired city planners, architects, legislators, designers and citizens everywhere. In this special 20th Anniversary edition, dozens of authors and experts in various fields share their perspective on James Howard Kunstler's brave and seminal work.

    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

    In Paris, but above all in Provence, Cezanne quested tirelessly for "a harmony parallel to Nature"--discovering it in still lifes of apples, in bathers, or in the renowned landscapes of his beloved Montagne Sainte-Victoire. This book discusses this extraordinary artist's major works and his theories of painting and color. 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 illustrations with explanatory captions