This sumptuous hardcover edition, with a foreword by George Lucas, features over 250 pieces of artwork, including all of Drew's most iconic movie images, as well as other highlights from his career, including album, book and comic book covers, stamps, trading cards, promotional artwork and very personal original works. The book comes right up to date, including exclusive San Diego Comic-Con poster art produced for The Walking Dead (2010) and Cowboys & Aliens (2011), with text by his wife Dylan, providing an intimate look at the man and his legacy. The definitive collection of Struzan's work; this is an absolute must-have for any movie buff and an unrivalled slice of both art and cinema history.

    By the time he was ten years old he knew he wanted to be an artist, and after leaving school he went on to study at Bradford Art College and later at the Royal College of Art in London. Bursting onto the scene at the Young Contemporaries exhibition, Hockney was quickly heralded as the golden boy of postwar British art and a leading proponent of pop art. It was during the swinging 60s in London that he befriended many of the seminal cultural figures of the generation and throughout these years Hockney's career grew. Always absorbed in his work, he drew, painted and etched for long hours each day, but it was a scholarship that led him to California, where he painted his iconic series of swimming pools. Since then, the most prestigious galleries across the world have devoted countless shows to his extraordinary work.In the seventies he expanded his range of projects, including set and costume design for operas and experiments with photography, lithography, and even photocopying. Most recently he has been at the forefront the art world's digital revolution, producing incredible sketches on his iPhone and iPad, and it is this progressive thinking which has highlighted his genius, vigor and versatility as an artist approaching his 75th birthday.In this, the first volume of Hockney’s biography, detailing his life and work from 1937 - 1975, Sykes explores the fascinating world of the beloved and controversial artist whose career has spanned and epitomized the art movements of the last five decades."The timing couldn't be better for this enjoyable and well-sourced book, which — like Hockney's own work — is both conversational and perceptive." —Los Angeles Times"To read Christopher Simon Sykes' David Hockney is to marvel at the artistic gifts of the eccentric Yorkshireman who rose from a sometimes pinched childhood to hobnob with poet Stephen Spender and novelist Christopher Isherwood, to party with Mick Jagger and Manolo Blahnik." —The Plain Dealer"Prodigiously entertaining." —Financial Times“A chatty, knowledgeable, insider's biography, full of anecdotes.” —The Guardian

    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.

    Millions followed Tintin from the wilds of the Congo to the streets of Prague, Moscow, New York, and more. Lavishly illustrated with photographs, original plates, and ephemera, Tintin: The Art of Hergé offers fresh insight into the story behind this iconic character, with unprecedented access to original sources from the Hergé Museum in Belgium. Offering a new and nuanced look into the world of Tintin, journalist Michel Daubert explains how the artist Georges Remi became the world-famous Hergé. The book also includes profiles on the beloved characters, selections from Hergé’s earliest work, and chapters that trace the development of a rough sketch into a masterpiece. With its dynamic narrative and visual treasures, Tintin underscores the artist’s varied inspirations, revealing how Hergé’s creations have become modern classics. Praise for Tintin: The Art of Hergé: Working with the Hergé Museum in Belgium, journalist Michel Daubert has produced Tintin: The Art of Hergé, a rich collection of photographs, early works, character profiles, and more that trace the life and artistic development of Tintin creator Georges Remi, aka Hergé.” —Publishers Weekly

    Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    Now his long-awaited account of that historic journey has been published. More vivid than the holos and more interpretive than the videos, these extraordinary paintings, plus numerous drawings, studies, and sketchbook pages, transport the reader to a wild, beautiful, untouched world-a planet teeming with incredible beasts and exotic vegetation.Expedition is the most important travel book of the 24th century. Selection of the Science Fiction Book Club and the Astronomy Book Club.

    A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

     As Centennial High bows to their Alpha and the team makes the state playoffs, I continue my mission to make him pay for what he has done to my friends. Tangled in a sensual battle that can only produce one winner, I'm unable to help myself. The power I wield over him is intoxicating and threatens me to cave to the one I hate the most. War. Centennial High Series Bully Bait Bully Tricks Bully Frenzy This book is intended for audiences 18+ due to mature themes and language. It is book three in a series and does not end with a cliffhanger.

    My role as President didn't give me the satisfaction I was seeking anymore. I wanted to move on but I didn't know how. Until she was dumped on my job. She was feisty and a challenge. One I liked to accept. Yet her secrets were hers. Until they were mine. Now I'm struggling to find the balance I need the most in my life. TRITON: I took care of my sister the best I could after our parents died. I wasn’t the best big brother. I had my club to think about and dealing with a teenager wasn’t high on my list of things to do. Neither was that little surfer girl. She was mouthy and full of passion, something I wanted. But with all good things, it had to come to an end. She had bigger plans for her life and I wasn’t one to keep her tied down. Or was I? RANSOM: I was given this name for a reason. This wasn’t my first go-round with a stuck up little brat. This time was different. Her dad made it personal. I was tired of living in a past that haunted me every day and she was the reason I decided to take control of that. I wasn’t expecting her to change herself. I wasn’t expecting her to change me. NEO: I’m not settled. Something is off that I can’t pinpoint. My mom’s health is declining and I’m the worst son imaginable. Life has kicked me more times than I care to admit. Then I met her. She was a smart mouth that sparked my interest. I made it my mission to know more about her. Until she left me.

    Now Annie Cohen-Solal, author of the hugely acclaimed Sartre: A Life (“an intimate portrait of the man that possesses all the detail and resonance of fiction”—Michiko Kakutani, The New York Times), recounts his incalculably influential and astonishing life in Leo and His Circle. After emigrating to New York in 1941, Castelli would not open a gallery for sixteen years, when he had reached the age of fifty. But as the first to exhibit the then-unknown Jasper Johns, Castelli emerged as a tastemaker overnight and fast came to champion a virtual Who’s Who of twentieth-century masters: Rauschenberg, Lichtenstein, Warhol, and Twombly, to name a few. The secret of Leo’s success? Personal devotion to the artists, his “heroes”: by putting young talents on stipend and seeking placement in the ideal collection rather than with the top bidder, he transformed the way business was done, multiplying the capital, both cultural and financial, of those he represented. His enterprise, which by 1980 had expanded to an impressive network of satellite galleries in Europe and three locations in New York, thus became the unrivaled commercial institution in American art, producing a generation of acolytes, among them Mary Boone, Jeffrey Deitch, Larry Gagosian, and Tony Shafrazi. Leo and His Circle brilliantly narrates the course of one man’s power and influence. But Castelli had another secret, too: his life as an Italian Jew. Annie Cohen-Solal traces a family whose fortunes rose and fell for centuries before the Castellis fled European fascism. Never hidden but also never discussed, this experience would form the core of a guarded but magnetic character possessed of unfailing old-world charm and a refusal to look backward—traits that ensured Castelli’s visionary precedence in every major new movement from Pop to Conceptual and by which he fostered the worldwide enthusiasm for American contemporary art that is his greatest legacy. Drawing on her friendship with the subject, as well as an uncanny knack for archival excavation, Annie Cohen-Solal gives us in full the elegant, shrewd, irresistible, and enigmatic figure at the very center of postwar American art, bringing an utterly new understanding of its evolution.

    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.

    Using detailed annotation of 45 works from the world's greatest artists, Art provides a deeper understanding and richer enjoyment of the masterpieces of painting.Great Art Made Accessible. This fascinating book takes an original approach to interpreting the lost language of art, using annotation to highlight everything you need to know to appreciate the world's favorite paintings, from Botticelli's The Birth of Venus to Picasso's Guernica. Art explains the artist's techniques and intentions and clarifies the meaning of obscure subjects, decoding the mysterious symbolism that can make even the most familiar painting elusive.Art is like a gallery full of the world's most spectacular paintings, including the devotional icons of the Gothic period and early Renaissance and the awe-inspiring achievements of the High Renaissance. It shows the splendor of the Baroque and Rococo, and scrutinizes the drama of the Neoclassicists and the Romantics. The enchantment of the Impressionist school and the complexities of the Cubist movement are also revealed in glowing color. Biographical notes on the artist place each work in its true personal and historical context.The book's generous size and faithful color reproduction allow every painting to be displayed accurately and in detail. At last, art lovers can truly enter the world of their favorite paintings.

    Alexander's Museums in Motion was hailed as a much-needed addition to the museum literature. In combining the history of museums since the eighteenth century with a detailed examination of the function of museums and museum workers in modern society, it served as an essential resource for those seeking to enter to the museum profession and for established professionals looking for an expanded understanding of their own discipline. Now, Mary Alexander has produced a newly revised edition of the classic text, bringing it the twenty-first century with coverage of emerging trends, resources, and challenges. New material also includes a discussion of the children's museum as a distinct type of institution and an exploration of the role computers play in both outreach and traditional in-person visits.

    Since its publication, a whole new generation of painters has emerged, some inspired by the artists who appeared in that book, others taking cues from new sources.? Vitamin P2: New Perspectives in Painting introduces this new wave of painters to the world.The vast medium of painting continues to be a central pillar of artistic practice, and Vitamin P2 presents the outstanding artists who are currently engaging with and pushing the boundaries of the medium. Over 80 international critics, artists and curators have nominated the 115 artists who have made a fresh, unique or innovative contribution to recent painting. All of the artists in Vitamin P2 have recently emerged onto the international scene, and none appeared in the first Vitamin P.An introduction by Barry Schwabsky, who also wrote the introduction for Vitamin P, provides a broad overview of recent developments in the medium while also looking towards its future.

    He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in "Art and Illusion," another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death. With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works.