In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.

    Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students "learn to look." This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.

    Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the Latin of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of the orders and the scope of rustication; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the modern architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.

    His vision of the impact of modern technology on the contemporary global condition is powerful and disturbing, ranging over art, science, politics and warfare.In Art and Fear, Paul Virilio traces the twin development of art and science over the twentieth century. In his provocative and challenging vision, art and science vie with each other for the destruction of the human form as we know it. He traces the connections between the way early twentieth century avant-garde artists twisted and tortured the human form before making it vanish in abstraction, and the blasting to bits of men who were no more than cannon fodder i nthe trenches of the Great War; and between the German Expressionists' hate-filled portraits of the damned, and the 'medical' experiments of the Nazi eugenicists; and between the mangled messages of global advertising, and the organisation of global terrorism.Now, at the start of the twenty-first century, science has finally left art behind, as genetic engineers prepare to turn themselves into the worst of expressionists, with the human being the raw material for new and monstrous forms of life.Art and Fear is essential reading for anyone wondering where art has gone and where science is taking us.

    This concise book defines the vocabulary of sprawl from alligator to zoomburb, illustrating fifty-one colorful terms invented by real estate developers and designers to characterize contemporary building patterns. Sixty-nine aerial photographs, each paired with a definition, convey the impact of development and provide verbal and visual vocabulary needed by professionals, public officials, and citizens to critique uncontrolled growth in the American landscape. This "devil's dictionary" of American building accompanies a critique of metropolitan regions organized around unsustainable growth, where sprawling new areas of automobile-oriented construction flourish as older neighborhoods are left to decline.

    Subjective feelings and objective color principles are described in detail and clarified by color reproductions.

    The author believes that there are such things as "The Mathematics of Life" and "The Mathematics of Art," and that the two coincide. Using simple mathematical formulas, most as basic as Pythagoras' theorem and requiring only a very limited knowledge of mathematics, Professor Ghyka shows the fascinating relationships between geometry, aesthetics, nature, and the human body.Beginning with ideas from Plato, Pythagoras, Archimedes, Ockham, Kepler, and others, the author explores the outlines of an abstract science of space, which includes a theory of proportions, an examination of "the golden section," a study of regular and semi-regular polyhedral, and the interlinking of these various shapes and forms. He then traces the transmission of this spatial science through the Pythagorean tradition and neo-Pythagorism, Greek, and Gothic canons of proportion, the Kabbala, Masonic traditions and symbols, and modern applications in architecture, painting, and decorative art. When we judge a work of art, according to his formulation, we are making it conform to a pattern whose outline is laid down in simple geometrical figures; and it is the analysis of these figures both in art and nature that forms the core of Professor Ghyka's book. He also shows this geometry at work in living organisms. The ample illustrations and figures give concrete examples of the author's analysis: the Great Pyramid and tomb of Rameses IV, the Parthenon, Renaissance paintings and architecture, the work of Seurat, Le Corbusier, and flowers, shells, marine life, the human face, and much more.For the philosopher, scientist, archaeologist, art historian, biologist, poet, and artist as well as the general reader who wants to understand more about the fascinating properties of numbers and geometry, and their relationship to art and life, this is a thought-provoking book.

    Long considered the survey of modern art, this engrossing and liberally illustrated text traces the development of trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. Retaining its comprehensive nature and chronological approach, it now comes thoroughly reworked by Michael Bird, an experienced art history editor and writer, with refreshing new analyses, a considerably expanded picture program, and a more absorbing and unified narrative.

    The text provides a thorough, how-to explanation of each of the steps of the design process--from initial contact with the client to a completed master plan. The text's numerous illustrations and useful case study examples offer a rich learning experience for students. Whether you are just starting your design career or are a current practitioner, this valuable resource is sure to enhance your skills and knowledge.

    It remains an engineering marvel almost forty years later--at 13,700 feet (more than two and a half miles), it is still the longest suspension bridge in the United States and the sixth longest in the world. Gay Talese, then early in his career at the New York Times, closely followed the construction, and soon after the opening his book The Bridge appeared. Never before in paperback, it remains both a riveting human drama of politics and courage, and a demonstration of Talese's consummate skills as a reporter and storyteller. His memorable narrative--accompanied, as then, by the astonishingly beautiful working drawings of Lili Rethi--will now captivate a new generation of readers.

    In Manhattan, more than a million poor immigrants crammed into tenements, while the half of the millionaires in the entire country lined Fifth Avenue with their opulent mansions. The Gilded Age in New York captures what is was like to live in Gotham then, to be a daily witness to the city's rapid evolution.Newspapers, autobiographies, and personal diaries offer fascinating glimpses into daily life among the rich, the poor, and the surprisingly large middle class.The use of photography and illustrated periodicals provides astonishing images that document the bigness of New York: the construction of the Statue of Liberty; the opening of the Brooklyn Bridge; the shimmering lights of Luna Park in Coney Island; the mansions of Millionaire's Row.Sidebars detail smaller, fleeting moments: Alice Vanderbilt posing proudly in her "Electric Light" ball gown at a society-changing masquerade ball; immigrants stepping off the boat at Ellis Island; a young Theodore Roosevelt witnessing Abraham Lincoln's funeral.The Gilded Age in New York is a rare illustrated look at this amazing time in both the city and the country as a whole. Author Esther Crain, the go-to authority on the era, weaves first-hand accounts and fascinating details into a vivid tapestry of American society at the turn of the century. Praise for New-York Historical Society New York City in 3D In The Gilded Age, also by Esther Crain: "Vividly captures the transformation from cityscape of horse carriages and gas lamps 'bursting with beauty, power and possibilities' as it staggered into a skyscraping Imperial City." -Sam Roberts, The New York Times"Get a glimpse of Edith Wharton's world." - Entertainment Weekly Must List"What better way to revisit this rich period . . ?" - Library Journal

    And no matter what software you use, your success in creating realistic-looking illumination, shadows and textures depends on your professional lighting and rendering techniques. In this lavishly illustrated new edition, Pixar's Jeremy Birn shows you how to:Master Hollywood lighting techniques to produce professional results in any 3D application Convincingly composite 3D models into real-world environments Apply advanced rendering techniques using subsurface scattering, global illumination, caustics, occlusion, and high dynamic range images Design realistic materials and paint detailed texture maps Mimic real-life camera properties such as f-stops, exposure times, depth-of-field, and natural color temperatures for photorealistic renderings Render in multiple passes for greater efficiency and creative control Understand production pipelines at visual effects and animation studios Develop your lighting reel to get a job in the industry

    On Being a Photographer has become one of the most popular books ever written with practical advice for photographers.

    From the first mistyheliograph taken by Joseph Nicephore Niepce in 1826 to the classic compositions of Cartier-Bresson and Alfred Steiglitz and the striking postmodern strategies of Robert Mapplethorpe, Clarke provides a groundbreaking examination of photography's main subject areas--landscape, the city, portraiture, the body, and reportage--as well as a detailed analysis of exemplary images in terms of their cultural and ideological contexts. With over 130 illustrations, The Photograph offers a series of discussions of major themes and genres providing an up-to-date introduction to the history of photographyand creating a record of the most dazzling, penetrating, and pervasive images of our time.

    Designed by renowned graphic artist Fabien Baron to be the ultimate makeup how-to book, Makeup Your Mind is a comprehensive compilation of Before and After photographs, each containing instructional acetate overlays, covering almost every face type, complexion, eye color, and facial feature found on the runway today. Makeup Your Mind is also a revolutionary instruction manual on makeup from one of the most respected and imitated cosmetics artists in fashion today: a makeup book designed and constructed as a durable paperback companion suitable for the vanity or for the car, sliding in and out of its attractive hardcover binder as needed, containing precise instructional guides on clear plastic overlays indicating exactly what goes where, allowing you to see the finished effect for perfect results. Summarizing each chapter on "Eyes", "Lips", "Neutrals", "Shimmer", "Monochrome and Suntan", "Pastels", Color, and "Skincare" are François Nars’ trademarked guidelines on the technique of applying makeup for that dazzling NARS look. Showcasing the famous NARS look are today’s top models, including Karen Elson, Maggie Rizer, Naomi Campbell, Devon Aoki, Trish Goff, Erin O’Connor, Sophie Dahl, May Anderson, Ling, Aurelie, Missy Rayder, Elsa, Caroline Ribero, Eva Herzagova, and many others. Makeup Your Mind features these women and more in sixty-three stunning Before and After pictures. All of the models were shot sans makeup for the Before pictures, displaying their bare-naked faces replete with imperfections and idiosyncrasies. Their transformations in the After pictures span from natural and elegant to fun and outrageous. In superb four-color photographs and brilliant acetate instructional guides, Makeup Your Mind demonstrates how makeup can minimize flaws and maximize beauty potential for every woman.