She’s Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She’s Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she’s Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She’s haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She’s railing against her corsets, her chaperones, her husband and her brothers; she’s hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available.Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have – and, of course, continue to do so – often against tremendous odds, from laws and religion to the pressures of family and public disapproval.In THE MIRROR AND THE PALETTE, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery. This is a dazzlingly original and ambitious book by one of the most well-respected art critics at work today.

    Svetlana Alpers's study of 17th-century Dutch painting is a splendid example of this excitement and of the centrality of art history among current disciples. Professor Alpers puts forward a vividly argued thesis. There is, she says, a truly fundamental dichotomy between the art of the Italian Renaissance and that of the Dutch masters. . . . Italian art is the primary expression of a 'textual culture,' this is to say of a culture which seeks emblematic, allegorical or philosophical meanings in a serious painting. Alberti, Vasari and the many other theoreticians of the Italian Renaissance teach us to 'read' a painting, and to read it in depth so as to elicit and construe its several levels of signification. The world of Dutch art, by the contrast, arises from and enacts a truly 'visual culture.' It serves and energises a system of values in which meaning is not 'read' but 'seen,' in which new knowledge is visually recorded."—George Steiner, Sunday Times"There is no doubt that thanks to Alpers's highly original book the study of the Dutch masters of the seventeenth century will be thoroughly reformed and rejuvenated. . . . She herself has the verve, the knowledge, and the sensitivity to make us see familiar sights in a new light."—E. H. Gombrich, New York Review of Books

    Her election marked a decisive break with the past and her premiership transformed not just her country, but the nature of democratic leadership. Simon Jenkins analyses this revolution from its beginnings in the turmoil of the 1970s through the social and economic changes of the 1980s. Was Thatcherism a mere medicine for an ailing economy or a complete political philosophy? And did it eventually fall victim to the dogmatism and control which made it possible? This is the story of the events, personalities, defeats and victories which will be familiar to all those who lived through them, but seen through a new lens. It is also an argument about how Thatcher’s legacy has continued down to the present. Not just John Major, but Tony Blair and Gordon Brown are her heirs and acolytes. And as the Conservative party reinvents itself as a viable political force once again, is the age of Thatcher finally over?

    But in 1963, the year of the Profumo Affair, the 11th Duke of Argyll shocked the country when he alleged that his adulterous wife had slept with over eighty men behind his back. He produced, as his evidence, a set of sexually explicit Polaroid photographs and explosive love letters. The duke won a divorce, but this had a dramatic effect on Margaret's life. On the verge of financial destitution, she fell from grace and was abandoned by most of her friends prior to her death in a nursing home in Pimlico in 1993. Lyndsy Spence tells a tragic story of the life and downfall of this fascinatingly complex woman, and shows how she fell victim to a cruel husband, harsh social mores and an unforgiving class. It uses hitherto unpublished sources, including taped conversations, an unexpurgated transcript of her divorce trial, interviews and letters. The Grit in the Pearl is a meticulously researched and powerful biography, which acts as a potent lens on various themes in the last century: fame, privacy, the media, sex, power, and relationships between classes.

    In Tudor, England, when Mary, Queen of Scots, was under house arrest, her needlework carried her messages to the outside world. From the political propaganda of the Bayeux Tapestry, World War I soldiers coping with PTSD, and the maps sewn by schoolgirls in the New World, to the AIDS quilt, Hmong story clothes, and pink pussyhats, women and men have used the language of sewing to make their voices heard, even in the most desperate of circumstances. Threads of Life is a chronicle of identity, protest, memory, power, and politics told through the stories of needlework. Clare Hunter, master of the craft, threads her own narrative as she takes us over centuries and across continents—from medieval France to contemporary Mexico and the United States, and from a POW camp in Singapore to a family attic in Scotland—to celebrate the age-old, universal, and underexplored beauty and power of sewing. Threads of Life is an evocative and moving book about the need we have to tell our story.

    For what Ingo Walther and his international team have done is to make sense of this most explosive of artistic centuries. Who could possibly have forecast on New Year's Eve 1899 that, one hundred years later, painting and sculpture would be only options, not prerequisite disciplines for modern artists, constantly questioning both the technical and thematic definitions of their work? The infinite laboratory of experiment that the visual arts have become over the last decades highlights not only the inherent potential for human creativity and representation, but also shows the way individuals and groups have responded to the huge social, political and technological changes of this most turbulent of times. Ranging across the full spectrum of disciplines available, including photography and new media, and thematically chaptered to highlight relationships between works and movements, this readable and encyclopaedic masterwork does just what it says on the cover. Whether you want Surrealism or Land Art, Fluxus or Bauhaus, your art book purchases can stop once you buy this. Warning: it will not fit on your coffee table!

    Divided into easy-reference chapters based on the ruling dynasties of England, and with a timeline for each, it follows the colorful history of monarchs from the first Saxon kings to the Windsors of the present day. Author Nigel Cawthorne paints vivid portraits of a mixed bunch of rulers ranging from the drunken and debauched merry monarch Charles II to the idealized domesticity and colonial ambition of Queen Victoria and Prince Albert.Nigel Cawthorne studied at University College London, where he gained an Honors degree in Physics, before turning to writing as a career. He has been a writer and editor for over 25 years. He has written, contributed to and edited more than sixty books, including The World's Greatest Royal Scandals, Sex Lives of the Kings and Queens of England, The Strange Laws of Old England, and Public Executions.

    Important Symbolist painters were at work in places as remote from one another as Munch in Oslo, Klimt in Vienna, and the young Picasso in Barcelona. It is through Symbolism, too, that the relationship between the English painting of the later nineteenth century and what was taking place in Europe can be explained. Edward Lucie-Smith's important study throws light upon the origins of Modernism, and upon the development of painting and sculpture in the final years of the century. 185 illus., 24 in color. Bibliography and index.

    In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one.Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.

    

    Edie Sedgwick exploded into the public eye like a comet. She seemed to have it all: she was aristocratic and glamorous, vivacious and young, Andy Warhol’s superstar. But within a few years she flared out as quickly as she had appeared, and before she turned twenty-nine she was dead from a drug overdose.In a dazzling tapestry of voices—family, friends, lovers, rivals—the entire meteoric trajectory of Edie Sedgwick’s life is brilliantly captured. And so is the Pop Art world of the ‘60s: the sex, drugs, fashion, music—the mad rush for pleasure and fame. All glitter and flash on the outside, it was hollow and desperate within—like Edie herself, and like her mentor, Andy Warhol. Alternately mesmerizing, tragic, and horrifying, this book shattered many myths about the ‘60s experience in America.

    Power. Status. The kings and queens throughout history seem to have it all. And yet love, it appears, was so often out of their reach. Marriages were arranged to form dynasties, fall in love with "the wrong person" was forbidden, the pressure to produce an heir was rife; responsibility forced hands and hearts had to follow. Royal Love Stories tells the true love stories of 14 couples, providing a fascinating retelling of royal romance over the last seven centuries. Touching, absorbing, and tragic by turns, these stories bring the glamour and contradictions of royalty vividly to life.

    Read a succinct account of the life and reign of Her Majesty Queen Elizabeth II in just one hour.Elizabeth II is the longest lived and, after Queen Victoria, second longest reigning monarch of the United Kingdom. From her coronation in 1953 to her Diamond Jubilee in 2012, Queen Elizabeth II has stood on the world stage as the figurehead for Britain.THE QUEEN: HISTORY IN AN HOUR tells the story of the Queen Elizabeth II’s life and long reign, her royal duties, service during the Second World War, public perception and the transformation of the British Empire into the Commonwealth of Nations under her rule. Essential reading for Royalists and Republicans alike.Love your history? Find out about the world with History in an Hour…

    Her tales of childhood in rural Ireland hark back to a timeless past, to a world now lost, but ever and fondly remembered. The colorful characters and joyous moments she offers have made her stories an Irish phenomenon, and have made Alice herself the most beloved author in all of the Emerald Isle.

    But where A Mix of Murders covers the Twentieth Century, Gaslight Villainy treats the reader, in exquisite detail, to a selection of fourteen crimes committed during the Victorian period. Founded, as with A Mix of Murders, on meticulous research, Farrell presents these cases with an equally clear, readable and articulate style that demonstrates the author’s fine command of his subject. In one case, Gaslight Villainy educates us in the techniques of execution, and the methods of specific executioners – not, it is clear, an always-professional process performed by ever-adept professionals. In another tale, Farrell shows that lingering abhorrence towards dissection of human cadavers held great sway over resolution of the crimes of the time, and yet shows still how a jury used other lines of reason to find the perpetrator in question guilty. In Voyage of Death, as with the other cases, the reader enjoys excellent characterisation: shipboard existence and the very feel of the vessel itself come to life vividly, thus forming a backdrop to a most intriguing case. Most murders occur on dry land, over which the perpetrator may flee a great distance following their ungodly deed, but murder at sea changes this parameter, and the concomitant effects thus frame this particular case tightly, where one pressing-question is ever to the fore: who exactly was the guilty party? Farrell characterises the times superbly in this book, painting a detailed picture of a culture that relished public executions, where the remoteness of rural murders – counter-intuitively – did not lend a greater chance of escape from the law, and where good-old-fashioned policing was the public’s strongest weapon in the face of malice aforethought. As with A Mix of Murders, the intelligent analyses in Gaslight Villainy give more than enough to satisfy the reader, but the rich context this book gives to its descriptions make it a must-have for true-crime aficionados. If you like your true crime served up with style, clarity and a sense of the times, you owe it to yourself to buy this book post haste. ------------------------------------------------------------------------ Chapter Listing: The Lothario of Portland Town Secret Poisoning A Species of Madness The Stoic's Tale The Fickle Waters of the Arran Unservantlike Behaviour The Two Bakers of St. Luke's Insured for Murder A Drop too Much Drink, Drugs and Doctors The Home Improvements of Frederick Deeming The Late Mrs Anderson Incident at Ardlamont Voyage of Death