Celebrated by some for his naturalism and his revolutionary pictorial inventions, he was considered by others to have destroyed painting. Few other artists have provoked such controversy and so many contradictory interpretations right up to modern times.  On the heels of Caravaggio year 2010, this work offers a comprehensive reassessment of Caravaggio’s entire oeuvre, with a catalogue raisonné of his works. Five introductory chapters analyze his artistic career from his training in Lombard Milan and his triumphal rise in papal Rome, up to his dramatic final years in Naples, Malta, and Sicily. The spotlight thereby falls upon the radical nature and innovative force of Caravaggio’s art and its influence in all of Europe.   Our understanding of Caravaggio’s work has been substantially broadened in recent decades by major exhibitions, restoration campaigns, new attributions and archival discoveries. The new catalogue raisonné offers a detailed overview of the artist’s entire oeuvre based on the latest research. Every painting is reproduced in large-scale format, with spectacular details that offer dramatic close-ups and set new standards in print quality. A new photographic campaign has been undertaken, enabling the smallest details to be reproduced on a large scale for the first time.They reveal all the more clearly Caravaggio’s virtuosity and his enormous ability to capture the viewer’s attention and to build a communicative bridge between the worlds of picture and viewer. Sequences of spectacular details grouped by subject allow us to experience Caravaggio’s ingenious rhetoric of looks and gestures and their theatrical staging in paint.

    But not least it is the home and constant muse of a relatively young art: photography. Since the earliest days of the daguerreotype right up to our time, renowned photographers such as Joseph Nicéphore Niepce, Henri Cartier-Bresson, Robert Doisneau, and Jeanloup Sieff have lived and worked in the city of lights. Over the years a love affair developed between Paris and photography, giving rise to a remarkable record of the metropolis and a telling history of a new art form. This volume takes the reader on numerous walks, camera in hand, through the streets of Paris. Atmospheric black-and-white photos, shot by great photographers over two centuries, reveal the dramatic and the tranquil, the historic and the everyday—in the capitals parks and gardens, boulevards and backstreets, passages and arcades, bistros and nightclubs.

    Here he began a twelve-year ordeal that included imprisonment on Devil's Island, trial, and long delayed pardon. This book is an account of the Dreyfus Affair, the scandal that rocked 19th century France.

    After a short flirtation with Klimt's style, Schiele soon questioned the aesthetic orientation to the beautiful surface of the Viennese Art Nouveau with his rough and not easily accessible paintings. Many contemporaries found his expressive nudes and self-portraits, with their strange movements and morbid colours, to be ugly and even morally objectionable - criticism which culminated in criminalizing the painter as "obscene" and resulted in 1912 in an indictment and short jail sentence. However, not even his harshest critics could dispute however the artist's extraordinary drawing talent.

    Here, from author Jay Williams, is the moving story of the man behind the Renaissance myth.

    A loosely formed autobiography by Andy Warhol, told with his trademark blend of irony and detachmentIn The Philosophy of Andy Warhol—which, with the subtitle "(From A to B and Back Again)," is less a memoir than a collection of riffs and reflections—he talks about love, sex, food, beauty, fame, work, money, and success; about New York, America, and his childhood in McKeesport, Pennsylvania; about his good times and bad in New York, the explosion of his career in the sixties, and his life among celebrities.

    Goya's model for his visual indictment of war and its horrors was the Spanish insurrection of 1808 and the resulting Peninsular War with Napoleonic France. The bloody conflict and the horrible famine of Madrid were witnessed by Goya himself, or were revealed to him from the accounts of friends and contemporaries. From 1810 to 1820, he worked to immortalize them in a series of etchings.The artist himself never saw the results. The etchings were not published until 1863, some 35 years after his death. By then, the passions of the Napoleonic era had subsided and the satirical implications in Goya's work were less likely to offend. The Dover edition reproduces in its original size the second state of this first edition, which contained 80 prints. Three additional prints not in the 1863 edition are also included here, making this the most complete collection possible of the etchings Goya intended for this series. The bitter, biting captions are reprinted, along with the new English translations, as are the original title page and preface.

    Country musicians and magicians, professional wrestlers and rock stars, all have turned to Nashville's historic Hatch Show Print to create showstopping posters. Established in 1879, Hatch preserves the art of traditional printing that has earned a loyal following to this day (including the likes of Beck, Emmylou Harris, and the Beastie Boys). Hatch Show Print: The History of a Great American Poster Shop is the first fully illustrated tour of this iconic print shop and also chronicles the long life and large cast of employees, entertainers, and American legends whose histories are intertwined with it. Complete with 190 illustrations--as well as a special book jacket that unfolds to reveal an original Hatch poster on the reverse--Hatch Show Print is a dazzling document of this legendary institution.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    The story is told by Mary’s sister Lydia, as she poses for five of her sister’s most unusual paintings, which are reproduced in, and form the focal point of each chapter. Ill with Bright’s disease and conscious of her approaching death, Lydia contemplates her world with courageous openness, and asks important questions about love and art’s capacity to remember.

    But she was gone and he was old. Nearly seventy. Only cool paint met his fingers. “Ma très chère . . .” Darkness started to fall, dimming the paintings. He felt the crumpled letter in his pocket. “I loved you so,” he said. “I never would have had it turn out as it did. You were with all of us when we began, you gave us courage. These gardens at Giverny are for you but I’m old and you’re forever young and will never see them. . . .”  In the mid-nineteenth century, a young man named Claude Monet decided that he would rather endure a difficult life painting landscapes than take over his father’s nautical supplies business in a French seaside town. Against his father’s will, and with nothing but a dream and an insatiable urge to create a new style of art that repudiated the Classical Realism of the time, he set off for Paris. But once there he is confronted with obstacles: an art world that refused to validate his style, extreme poverty, and a war that led him away from his home and friends. But there were bright spots as well: his deep, enduring friendships with men named Renoir, Cézanne, Pissarro, Manet – a group that together would come to be known as the Impressionists, and that supported each other through the difficult years. But even more illuminating was his lifelong love, Camille Doncieux, a beautiful, upper-class Parisian girl who threw away her privileged life to be by the side of the defiant painter and embrace the lively Bohemian life of their time.  His muse, his best friend, his passionate lover, and the mother to his two children, Camille stayed with Monet—and believed in his work—even as they lived in wretched rooms, were sometimes kicked out of those, and often suffered the indignities of destitution. She comforted him during his frequent emotional torments, even when he would leave her for long periods to go off on his own to paint in the countryside. But Camille had her own demons – secrets that  Monet could never penetrate, including one that when eventually revealed would pain him so deeply that he would never fully recover from its impact. For though Camille never once stopped loving the painter with her entire being, she was not immune to the loneliness that often came with being his partner.  A vividly-rendered portrait of both the rise of Impressionism and of the artist at the center of the movement, Claude and Camille is above all a love story of the highest romantic order.

    This was, without doubt, the most celebrated cohabitation in art history: never, before or since have two such towering artistic talents been penned up in so small a space. They were the Odd Couple of art history. Predictably, the results were explosive. The dâenouement of their life together has entered into folklore. Two months after Gauguin arrived in Arles, Van Gogh suffered a psychological crisis. He spent most of the rest of his life in a mental institution. Gauguin fled from Arles, and they never saw each other again. But in the brief period during which they worked together a stream of masterpieces was created within the studio they shared. Here, for the first time, the full story of their life together is told.

    This book explores his work.

    He lived during the Italian Renaissance, a period known for its creative activity. Civilization made huge strides in science and invention, in literature, and in politics. In art, the age's great achievement, Michelangelo led all others.A short, wide-shouldered man with a face made homely by a broken nose, Michelangelo had a remarkable ability to concentrate his thoughts and energy on the task in hand. Often while working he would eat only a little bread, would sleep on the floor or on a cot beside his unfinished painting or statue, and would continue to wear the same clothes until his work was finished.

    However, limited access to the fragile works on paper and dispersion among several collections have made for an unbalanced representation of his work as a draftsman.This book assembles drawings and watercolors from public and private collections and reproduces work from every year of the artist's career, beginning with the juvenilia and early academic studies. The focus means that work that is rarely reproduced is represented extensively, providing a unique opportunity to study the rapid artistic development of Schiele over the course of his brief twelve-year career.The book is organized chronologically and divided into year-by-year sections. Each section includes a text that discusses the major events in Schiele's life and the interrelation between the artist's drawing and developments in his oil painting. Features a previously unpublished Schiele watercolor and several works that have never been reproduced in color.