They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    The skeleton, muscles and joints are covered with descriptions of differences between female and male anatomy.This is a reproduction of a 1852 British publication and may contain non-standard spellings and characters. The work has been proof-read and edited to remove typographical errors and reformat the text for the Kindle. All images have been cleaned and resized.

    In youth they occupied very different worlds: Churchill, the rambunctious and thrusting young aristocrat; Smuts, the ascetic, philosophical Cape farm boy who would go on to Cambridge where, in an unprecedented achievement, he sat both parts of a law tripos simultaneously and won a double first.Brought together first as enemies in the Anglo-Boer War, and later as allies in the First World War, the men forged a friendship that spanned the first half of the twentieth century and endured until Smuts's death in 1950. Richard Steyn, author of Jan Smuts: Unafraid of Greatness, examines this close friendship through two world wars and the intervening years, drawing on a maze of archival and secondary sources, including letters, telegrams and the voluminous books written about both men.This is a fascinating account of two exceptional men in war and peace: one the leader of an empire, the other the leader of a small fractious member of that empire who rose to global prominence.

    The first book in the series featured 45 stories of women who have committed the act of murder. Hell Hath No Fury 2: More Women Who Kill follows that up with 43 more stories of murder committed by the fairer sex. Part 1 contains 33 stories of women who have murdered children. Part 2 has five stories of women who have murdered either husbands, boyfriends or significant others. Part 3 consists of five more assorted stories of women who kill. Part 4 contains an overview of some possible motives and reasons for the murders.

    Behind the public acclaim which his wartime achievements brought him, he had vanity and a controversial lifestyle. He had influential connections with the Royal Family but made many enemies, including Winston Churchill, who never forgave him for his part in "giving away India", while courtiers in the Royal Household disliked him for his arrogance and interference. Both Mountbatten and his wife were widely known to have had numerous affairs, but this was rarely spoken of outside their circle. He was an egotistical man, fascinated by Royalty and his own relationship to the Royal Family, and delighted in being seen with celebrities. His biographer, Brian Hoey, knew Mountbatten for ten years and interviewed him on radio and television. Hoey talked to many in the Royal Household, and also to Prince Philip, Prince Michael of Kent and King Constantine of Greece about their memories of Mountbatten. Both of Mountbatten's daughters, and his grandchildren also agreed to speak.

    Though tempted to pull out and go home, she reluctantly runs.Little did she know the race up Corrig Mountain would inflict such physical blows: Her lungs catch fire, her legs explode, her heart hits record speeds. And though it’s a gentle summer’s evening back in Dublin, on top of Corrig Mountain the wind screeches and the mist swirls as she lurches and lunges over grass, rocks, and rutted bog. The next morning, everything hurts. But still she perseveres. Every week, she’s battling it out with the other mountain runners, adversaries on the hill. But by 9 pm, she’s joining her new found friends in the pub, discovering the wonderful healing powers of a proper pint. Over the next three years, Moire competes in every mountain race she can find, whatever its shape or form: everything from ten kilometre sprints up summits, to one hundred kilometre runs requiring map and compass. She even dabbles in adventure racing, doing multi-day multi-sport races in teams of four in the barren wastelands of Ireland and Scotland. But it is not until she sets her sights on the still unconquered Wicklow Round that she finally finds her nemesis. In July 2008, Moire made a solo attempt on the Wicklow Round, a gruelling endurance run spanning a hundred kilometres over twenty six of Ireland’s remotest mountain peaks. After twenty one and a half hours she collapsed, two summits from the end. Battered and bruised yet undeterred, she returned a year later to become the first person ever to complete the challenge.This is her story.

    On June 15, 1862 a gang of bushrangers pulled off the largest gold robbery in Australia's history atEugowra Rocks. The gang escaped with bank notes and 77kg of gold, worth about $10 million today. It remains Australia's largest gold robbery. The story of how Ben Hall, Frank Gardiner, John O'Mealley, John Gilbert, Harry Manns, Alex Fordyce, John Bow and Dan Charters - planned and executed the robbery and what happened to all that gold is the stuff of a brilliant, modern, exciting crime book. This is Australian history on the very best crime-writing steroids from Australia's number one true crime writer.

    This is the story of Helter Skelter. After decades of receiving letters from misguided youth and misinformed fanatics, Susan Atkins hoped to produce a counter-point to the "Helter Skelter" story that would demystify the crimes and show them for what they were. She hoped if she could explain them maybe they would no longer be the point of obsession they have become to some. “People are intrigued by what they don’t understand.” Susan Atkins-Whitehouse

    This book brings together these disparate worlds to show one medieval world, stretching from Connacht to Constantinople and from Tynemouth to Timbuktu. This set of reconstructions presents the reader with the future of the medieval past, offering appraisals of the evidence and modern historical writing. Articles are thematically linked in four sections, exploring identities in the medieval world; beliefs, social values and symbolic order; power and power-structures; and elites, organisations and groups. This set of views from multiple perspectives conveys the liveliness of current approaches to studies in the field.

    The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary--one who was equally ambitious but possessed sharply contrasting strengths and weaknesses.Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock's uninhibited style of "action painting" triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock's sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend's mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain's most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen.Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one's own as an artist--finding one's voice--almost always involves willfully breaking away from some intimate's expectations of who you are or ought to be.Praise for The Art of Rivalry"Gripping . . . Mr. Smee's skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas."--The New York Times"With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority."--The Boston Globe"Bacon liked to say his portraiture aimed to capture 'the pulsations of a person.' Revealing these rare creators as the invaluable catalysts they also were, Smee conveys exactly that on page after page. . . . His brilliant group biography is one of a kind." --The Atlantic "Perceptive . . . Smee is onto something important. His book may bring us as close as we'll ever get to understanding the connections between these bristly bonds and brilliance."--The Christian Science Monitor"In this intriguing work of art history and psychology, The Boston Globe's art critic looks at the competitive friendships of Matisse and Picasso, Manet and Degas, Pollock and de Kooning, and Freud and Bacon. All four relationships illuminate the creative process--both its imaginative breakthroughs and its frustrating blocks."--Newsday

    Forever Frida celebrates all things Frida, so you can enjoy her art, her words, her style, and her badass attitude every day. Viva Frida!

    In "The Art Detective," Philip Mould, one of the world's foremost authorities on British portraiture and an irreverent and delightful expert for the "Roadshow," serves up his secrets and his best stories, blending the technical details of art detection and restoration with juicy tales peopled by a range of eccentric collectors, scholars, forgers, and opportunists. Peppered with practical advice, each chapter focuses on one particular painting and the mystery that surrounds it. Mould is our trusty detective, tracking down clues, uncovering human foibles and following hunches until the truth is revealed. Mould is known for his ability to crack the toughest puzzles and whether he's writing about a fake Norman Rockwell, a hidden Rembrandt, or a lost Gainsborough, he brings both the art and the adventure to life. "The Art Detective" is memoir, mystery, art history, and brilliant yarn all rolled into one.

    He writes of his wartime experiences, and particularly of his period as Squadron Leader and Wing Commander and his involvement in the Battle of Britain.

    But an astonishing 540 of them closed down between 2004 and 2008. Last Shop Standing lifts the lid on an industry in tatters. Graham Jones has worked at the heart of record retailing since the golden era of the 1980s. He was there during the years of plenty and has witnessed the tragic decline of a business blighted by corruption and corporate greed. Undertaking a tour of the last remaining independent record shops in Britain, he has collected a wealth of entertaining stories that explain why the best are still standing, and how the worst of them blew it. In telling the tale of the industry's sad decline Graham Jones has unearthed wry anecdotes about dozens of rock stars and music industry figures, including The Beatles, Led Zeppelin, Jimi Hendrix, Queen, David Bowie, The Sex Pistols, Joy Division, Oasis, John Peel and many others. Last Shop Standing is a hilarious yet harrowing account by a man who has been there and sold that. It is a book that will bring a wry smile to the face of anyone who has ever bought a CD or attended a concert, and still has the T-shirt to prove it.

     Hardcore music emerged just after the first wave of punk rock in the late 1970s. American punk kids who loved the speed and attitude of punk took hold of its spirit, got rid of the “live fast, die young” mind-set and made a brilliant revision: hardcore. The dividing line between punk and hardcore music was in the delivery: less pretense, less melody, and more aggression. This urgency seeped its way from the music into the look of hardcore. There wasn’t time to mold your liberty spikes or shine your Docs, it was jeans and T-shirts, Chuck Taylors and Vans. The skull and safety-pin punk costume was replaced by hi-tops and hooded sweatshirts. Jamie Reid’s ransom note record cover aesthetic gave way to black-and-white photographs of packed shows accompanied by bold and simple typography declaring things like: "The Kids Will Have Their Say", and "You’re Only Young Once." Radio Silence documents the ignored space between the Ramones and Nirvana through the words and images of the pre-Internet era where this community built on do-it-yourself ethics thrived. Authors Nathan Nedorostek and Anthony Pappalardo have cataloged private collections of unseen images, personal letters, original artwork, and various ephemera from the hardcore scene circa 1978-1993. Unseen photos lay next to hand-made t-shirts and original artwork brought to life by the words of their creators and fans. Radio Silence includes over 500 images of unseen photographs, illustrations, rare records, t-shirts, and fanzines presented in a manner that abandons the aesthetic clichés normally employed to depict the genre and lets the subject matter speak for itself. Contributions by Jeff Nelson, Dave Smalley, Walter Schreifels, Cynthia Connolly, Pat Dubar, Gus Peña, Rusty Moore, and Gavin Ogelsby with an essay by Mark Owens.