During the following ten years they were lovers, worked closely together and she became mother to two of his children, Claude and Paloma. Life with Picasso, her account of those extraordinary years, is filled with intimate and astonishing revelations about the man, his work, his thoughts and his friends - Matisse, Braque, Gertrude Stein and Giacometti, among others. Francois Gilot paints a compelling portrait of her turbulent life with the temperamental (and even abusive) genius that was Picasso. As one of the few intimate witnesses to Picasso as a human being and as an artist, her account of him is invaluable for assessing him on both counts.

    These landmark images now have a clarity and depth not achievable in earlier editions.

    And it's a story that's been believed ever since. Too bad it just isn't true.Jonathan Lopez has done what no other writer could--tracking down primary sources in four countries and five languages to tell for the first time the real story of the world's most famous forger. Neither unappreciated artist nor antifascist hero, Van Meegeren emerges in The Man Who Made Vermeers as an ingenious, dyed-in-the-wool crook--a talented Mr. Ripley armed with a paintbrush, who worked virtually his entire adult life making and selling fake Old Masters. Drawing upon extensive interviews with descendents of Van Meegeren's partners in crime, Lopez also explores the networks of illicit commerce that operated across Europe between the wars. Not only was Van Meegeren a key player in that high-stakes game during the 1920s, landing fakes with powerful dealers and famous collectors such as Andrew Mellon (including two pseudo-Vermeers that Mellon donated to the National Gallery of Art in Washington, D.C.), but the forger and his associates later offered a case study in wartime opportunism as they cashed in on the Nazi occupation.The Man Who Made Vermeers is a long-overdue unvarnishing of Van Meegeren's legend and a deliciously detailed story of deceit in the art world.

    As seen here, his color harmonies can be analogous to musical compositions, complex and expressive. Full-color reproductions and thorough text provide a quick yet solid introduction to this master.

    Rothko also wrote a number of essays and critical reviews during his lifetime, adding his thoughtful, intelligent, and opinionated voice to the debates of the contemporary art world. Although the artist never published a book of his varied and complex views, his heirs indicate that he occasionally spoke of the existence of such a manuscript to friends and colleagues. Stored in a New York City warehouse since the artist’s death more than thirty years ago, this extraordinary manuscript, titled The Artist’s Reality, is now being published for the first time. Probably written around 1940–41, this revelatory book discusses Rothko’s ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of “American art,” and much more. The Artist’s Reality alsoincludes an introduction by Christopher Rothko, the artist’s son, who describes the discovery of the manuscript and the complicated and fascinating process of bringing the manuscript to publication. The introduction is illustrated with a small selection of relevant examples of the artist’s own work as well as with reproductions of pages from the actual manuscript.The Artist’s Reality willbe a classic text for years to come, offering insight into both the work and the artistic philosophies of this great painter.

    He was also a notorious collector who saved practically everything that came his way. In 1994, seven years after the artist's death, The Andy Warhol Museum in Pittsburgh became the repository not only for a substantial body of his artwork and films, but also for the Time Capsules into which he obsessively deposited a lifetime's worth of ephemera and personal memorabilia. For this book--created in the same format as Abrams' best-selling Earth From Above: 365 Days--the museum has gathered highlights of its collection. Illustrated with almost 400 objects, from paintings to party invitations, the volume also features lively commentaries by the museum's staff as well as quotes from Warhol's own irreverent writings. Timed to coincide with the celebration of the museum's 10-year anniversary, this book will serve as both an introduction to and a handbook for the most extensive collection anywhere of this iconic artist's work.

    Wilcox casts away theory and looks at how pigments really work -- so artists can mix their own colors and get the most out of those greenish blues and purplish reds.

    Before Vasari’s extraordinary book, art was considered a technical skill rather than an intellectual pursuit, and artists were mere decorators and craftsmen. It was through Vasari’s visionary writings that artists like Raphael, Leonardo, and Michelangelo came to be regarded as great masters of life as well as art, their creative genius celebrated as a divine gift. Their enduring reputations testify to Vasari’s profound yet unspoken influence on western culture.An advisor to kings and pontiffs—and a confidant to Titian, Donatello, and more—Vasari enjoyed an exhilarating career amid the thrilling culture of Renaissance Italy. In The Collector of Lives, Ingrid Rowland and Noah Charney offer a lively and inviting introduction to this pivotal figure in art history, and immerse readers in the world of the Medici of Florence and the popes of Rome. A narrative of intrigue, scandal, and colorful artistic rivalry, this vivid biography shows the great works of western art taking shape under Vasari’s keen eye—and reveals how one Renaissance scholar completely redefined how we look at art.

    Follow-up volume to the best-selling The Art of Looking Sideways, Picturing and Poeting is the latest collection of mind-bending images and creative wordplay from Alan Fletcher, one of the most internationally influential figures in graphic design.

    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

    "The hushed reverence of the gallery can fool you into believing masterpieces are polite things; visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your sense of reality. . . ."With the same disarming force, The Power of Art propels us on an eye-opening, breathtaking odyssey, zooming in on eight extraordinary masterpieces, from Caravaggio's David and Goliath to Picasso's Guernica. Jolting us far from the comfort zone of the hushed art gallery, Schama closes in on intense make-or-break turning points in the lives of eight great artists who, under extreme stress, created something unprecedented, altering the course of art forever.The embattled heroes—Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso and Rothko—each in his own resolute way, faced crisis with steadfast defiance, pitting passion and conviction against scorn and short-sightedness. The masterpieces they created challenged convention, shattered complacency, shifted awareness and changed the way we look at the world.With vivid storytelling and powerfully evocative descriptive passages, Schama explores the dynamic personalities of the artists and the spirit of the times they lived through, capturing the flamboyant theatre of bourgeois life in Amsterdam, the passion and paranoia of Revolutionary Paris, and the carnage and pathos of Civil War Spain.Most compelling of all, The Power of Art traces the extraordinary evolution of eight "eye-popping" world-class works of art. Created in a bolt of illumination, such works "tell us something about how the world is, how it is to be inside our skins, that no more prosaic source of wisdom can deliver. And when they do that, they answer, irrefutably and majestically, the nagging question of every reluctant art-conscript . . . 'OK, OK, but what's art really for?'"

    Legends about Cornell abound--as the shy hermit, the devoted family caretaker, the artistic innocent--but never before Utopia Parkway has he been presented for what he was: a brilliant, relentlessly serious artist whose stature has now reached monumental proportions. Cornell was haunted by dreams and visions, yet the site of his imaginings couldn't have been more ordinary: a small house he shared with his mother and invalid brother in Queens, New York. In its cluttered basement, he spent his nights arranging photographs, cut-outs and other humble disjecta into some of the most romantic works to exist in three dimensions. Cornell was no recluse, however: admired by successive generations of vanguard artists, he formed friendships with figures as diverse as Duchamp, de Kooning, and Warhol and had romantically charged encounters with Susan Sontag and Yoko Ono--not to mention unrequited crushes on countless shop girls and waitresses. All this he recorded compulsively in a diary that, along with his shadow boxes, forms one of the oddest and most affecting records ever made of a life. It is from such documents, and from a decade of sustained attention to Cornell, that Deborah Solomon has fashioned the definitive biography of one of America's most powerful and unusual modern artists.

    . . have different rights, different values than do ordinary people because we have different needs which put us . . . above their moral standards.” —ModiglianiAmedeo (“Beloved of God”) Modigliani was considered to be the quintessential bohemian artist, his legend almost as infamous as Van Gogh’s. In Modigliani’s time, his work was seen as an oddity: contemporary with the Cubists but not part of their movement. His work was a link between such portraitists as Whistler, Sargent, and Toulouse-Lautrec and that of the Art Deco painters of the 1920s as well as the new approaches of Gauguin, Cézanne, and Picasso.Jean Cocteau called Modigliani “our aristocrat” and said, “There was something like a curse on this very noble boy. He was beautiful. Alcohol and misfortune took their toll on him.”In this major new biography, Meryle Secrest, one of our most admired biographers—whose work has been called “enthralling” (The Wall Street Journal); “rich in detail, scrupulously researched, and sympathetically written” (The New York Review of Books) —now gives us a fully realized portrait of one of the twentieth century’s master painters and sculptors: his upbringing, a Sephardic Jew from an impoverished but genteel Italian family; his going to Paris to make his fortune; his striking good looks (“How beautiful he was, my god how beautiful,” said one of his models) . . . his training as an artist . . .and his influences, including the Italian Renaissance, particularly the art of Botticelli; Nietzsche’s theories of the artist as Übermensch, divinely endowed, divinely inspired; the monochromatic backgrounds of Van Gogh and Cézanne; the work of the Romanian sculptor Brancusi; and the primitive sculptures of Africa and Oceania with their simplified, masklike triangular faces, elongated silhouettes, puckered lips, low foreheads, and heads on exaggeratedly long necks. We see the ways in which Modigliani’s long-kept-secret illness from tuberculosis (it almost killed him as a young man) affected his work and his attitude toward life ; how consumption caused him to embrace fatalism and idealism, creativity and death; and how he used alcohol and opium with laudanum as an antispasmodic to hide the symptoms of the disease and how, because of it, he came to be seen as a dissolute alcoholic.And throughout, we see the Paris that Modigliani lived in, a city in dynamic flux where art was still a noble cause; how Modigliani became part of a life in the streets and a world of art and artists then in a transforming revolution; Monet, Cézanne, Degas, Renoir, et al.—and others more radical—Matisse, Derain, etc., all living within blocks of one another.Secrest’s book, written with unprecedented access to letters, diaries, and photographs never before seen, is an extraordinary revelation of a life lived in art . . . Here is Modigliani, the man and the artist, seemingly shy, delicate, a man on a desperate mission, masquerading as an alcoholic, cheating death again and again, and calculating what he had to do in order to go on working and concealing his secret for however much time remained . . .

    It's an insightful artistic philosophy that boils down the many technical principles of composition into a single master rule that's easy to remember and apply: Never make any two intervals the same.You can make every painting more interesting, dynamic and technically sound by varying intervals of distance, length and space, as well as intervals of value and color. The rule also applies to balance, shape and the location of your painting's focal point.Greg Albert illustrates these lessons with eye-opening examples from both beginning and professional artists, including Frank Webb, Tony Couch, Kevin Macpherson, Charles Reid, Tony Van Hasselt and more.You'll discover that the ONE RULE is the only rule of composition you need to immediately improve your work - the moment your brush touches the canvas.

    The end of the sixteenth century was marked by the Inquisition and Counter-Reformation, a background of ideological war against which, despite all odds, brilliant feats of art and science were achieved. No artist captured the dark, violent spirit of the time better than Caravaggio, variously known as Marisi, Moriggia, Merigi, and sometimes, simply M. As art critic Robert Hughes has said, "There was art before him and art after him, and they were not the same." Robb's masterful biography "re-creates the mirror Cravaggio held up to nature," as Hilary Spurling wrote in The New York Times Book Review, "with singular delicacy as well as passion and panache."