It includes examples of the Haystacks, Poplars, Morning on the Seine, Japanese Footbridge and Water Lilies series, an account of Monet's life at Giverny and photographs of Monet and his house and garden.

    Art critics gave them the name "the School of Paris" to set them apart from the French-born (and less talented) young artists of the period. Modigliani and Chagall eventually attained enormous worldwide popularity, but in those earlier days most School of Paris painters looked on Soutine as their most talented contemporary. Willem de Kooning proclaimed Soutine his favorite painter, and Jackson Pollack hailed him as a major influence.Soutine arrived in Paris while many painters were experimenting with cubism, but he had no time for trends and fashions; like his art, Soutine was intense, demonic, and fierce. After the defeat of France by Hitler's Germany, the East European Jewish immigrants who had made their way to France for sanctuary were no longer safe. In constant fear of the French police and the German Gestapo, plagued by poor health and bouts of depression, Soutine was the epitome of the tortured artist. Rich in period detail, Stanley Meisler's Shocking Paris explores the short, dramatic life of one of the most influential artists of the twentieth century.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    There was no need to be nervous—Cloud Nine would be considered his greatest achievement since the seminal, All Things Must Pass.In George Harrison: Reconsidered, the process of getting to that pressing is presented—as well as remembrance of those things past.Timothy White honed his journalistic skills the old-fashioned way, working first as a copyboy for the Associated Press, then moving on to cover sports and entertainment. White was managing editor, then senior editor, of the music magazine Crawdaddy. He joined Rolling Stone as an associate editor, and rose through the ranks to become senior editor. In the last eleven years of his life, he served as editor-in-chief of Billboard. A prolific, award-winning writer, Timothy White interviewed hundreds of musicians, and became known as a champion of unknown artists.

    Though they were often ridiculed or ignored by their contemporaries, today astonishing sums are paid for the works of these artists, whose paintings are celebrated for their ability to capture the moment, not only in the fleeting lights of a landscape but in scenes of daily life. Their dazzling pictures are familiar—but how well does the world know the Impressionists as people? The Private Lives of the Impressionists tells their story. It is the first book to offer an intimate and lively biography of the world's most popular group of artists.In a vivid and moving narrative, biographer Sue Roe shows the Impressionists in the studios of Paris, rural lanes of Montmartre and rowdy riverside bars as Paris underwent Baron Haussmann's spectacular transformation. For more than twenty years they lived and worked together as a group, struggling to rebuild their lives after the Franco-Prussian War and supporting one another through shocked public reactions to unfamiliar canvases depicting laundresses, dancers, spring blossoms and boating scenes.This intimate, colorful, superbly researched account takes us into their homes and studios, and describes their unconventional, volatile and precarious lives, as well as the stories behind the paintings.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    Mucha is most famous for his Sarah Bernhardt posters and his magnificent decorative panels such as "The Seasons," works that continue to grow in popularity, despite the indifferent quality of most modern reproductions. To graphic artists and commercial designers, Mucha is praised for the innovative stylebooks that pioneered the use of Art Nouveau in commercial packaging, design, and ornament. But the primary element in all of Mucha's artistic endeavors — his evocative, highly original draftsmanship — has never been adequately surveyed.This collection of 70 high-quality illustrations — six in black-and-white and nine in full color — offers the first and only comprehensive survey of Mucha's drawings, and as such, provides a unique insight into the aesthetic qualities that were fundamental to all of the artist's work. Reproduced directly from his original drawings, these works span Mucha's entire career and include sketches for his famous book and magazine illustrations, preliminary sketches for paintings, advertising and packaging art, studies for stylebooks, etc. Famous examples include "The Seasons," full-color drawings for the complete set, plus a preliminary charcoal sketch for "Autumn"; St. Louis World's Fair poster, full-color lithograph and preliminary pencil sketch; Sarah Bernhardt, four works in India ink, pencil, etc.; and "Documents décoratifs" and "Figures décoratives," studies from Mucha's two innovative stylebooks.Naturally, many of these drawing are interesting because they reveal the initial thoughts for famous works but most basically these drawings show that Mucha's draftsmanship — highly admired, even by the cantankerous Whistler — was the brilliant underpinning of his entire craft.

    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.

    Set in the studio, on the stage, and in great cities and small towns across the country, this book captures life on the road for Marsalis and his musicians, evoking its ritual and renewal, energy and spirituality. Describing the art of improvisation, the book's two voices mirror the interplay at the heart of jazz. "On the road and on the bandstand," Marsalis writes, "something great may happen at any moment, something that might even change your life." Alternately luminous and boisterous, often poignant, and always passionate, Marsalis and Vigeland's extraordinary dialogue is a must for fans, musicians, and anyone curious about America's only indigenous art form.

    So began their adventure into IVF, via blood tests, sperm tests, injections and probes, becoming involuntary experts on embryology through failure, despair, persistence and success.After 4 years, 3 different clinics, 2 positive pregnancy tests and 1 miscarriage, they finally had a successful pregnancy.GET A LIFE is the perfect down-to-earth guide for anyone thinking of embarking on fertility treatment. It's two books in one, a book of advice for women and a survival guide for men, each chapter mirrored but with very different experience and advice. IVF is terrifying, awful and extraordinary in equal measures for both partners. GET A LIFE shares Richard and Rosie's ride on the fertility roller coaster, bringing you the funny, emotional and physical sides of IVF. It is an invaluable guide from both perspectives on how to get through the process in one piece.

    It is his first job in general practice; his first brave excursion into the dangerous world where patients walk round in their clothes. Dr Vernon soon finds himself bemused, fascinated and exhausted as he copes with the procession of ailing humanity that streams into his surgery and awaits his visits. A confused old lady, timid vet, puzzled diabetic, lonely housewife, hypochondriac, tipster with an ulcer, nun with dandruff and a persistent young lady with abundant charms and nothing wrong with her. Just published as an e book, exclusive to Amazon, this book was a huge hit in England and America when first published in the 1970s. Edward Vernon is a pen name of a well known British doctor/author.Here's what the critics said about the series:Thoroughly delightful - Fresno BeeHilarious - TitbitsA delightfully funny book that keeps the reader laughing and appeals to one's sense of the ridiculous - Sunday Advocate, Baton RougeFor entertainment, a chapter or two before bedtime is just what the doctor ordered - Sacramento BeeDoes for British GPs what Herriot has done for vets - BooklistHilarious, written with skill and zest - Grimsby Evening TelegraphVery funny - Citizen, GloucesterThoroughly enjoyable, genuinely funny - South Wales EchoWise, funny, sad and heartwarming - Chattanooga TimesGood fun - Homes and GardensMost of his adventures are funny, some hilarious; but he has the good sense to leven the comedy lump with some that are sad, some touching. All are written lightly, easily, entertainingly - Oxford TimesThe funniest of the funny doctor books - Richard GordonJolly good reading - Publishers WeeklyViews the human species he treats with much the same affection, compassion and humour as Herriot brings to the animal world - Cleveland Plain DealerSometimes serious, sometimes hilarious - Lancashire Evening PostTruthful, well observed and consistently readable - Daily TelegraphPerceptive and witty - Surrey AdvertiserWill amuse, amaze and entertain - Yorkshire Postetc etc

    Painter, sculptor, writer, and filmmaker, Salvador Dali (1904-1989) was one of the century's greatest exhibitionists and eccentrics - and was rewarded with fierce controversy wherever he went. He was one of the first to apply the insights of Sigmund Freud and psychoanalysis to the art of painting, approaching the subconscious with extraordinary sensitivity and imagination. This lively monograph presents the infamous Surrealist in full color and in his own words. His provocative imagery is all here, from the soft watches to the notorious burning giraffe. A friend of the artist for over thirty years, privy to the reality behind Dali's public image, author Robert Descharnes is uniquely qualified to analyze Dali - both the man and the myth.

    Z came to expect a certain alchemical, trademark blend: words which were caustic and wry, at times self-deprecating or even puzzling, but always devilishly smart with arresting honesty. A complex package, that's the Doctor.  The one-time sparring partner of Ernest Hemingway, Paul Zimmerman is one of the modern era's groundbreaking football minds, a man who methodically charted every play while generating copious notes, a human precursor to the data analytics websites of today. In 2008, Zimmerman had nearly completed work on his personal memoirs when a series of strokes left him largely unable to speak, read, or write. Compiled and edited by longtime SI colleague Peter King, these are the stories he still wants to see told.  Dr. Z’s memoir is a rich package of personalities, stories never shared about such characters as Vince Lombardi, Walter Payton, Lawrence Taylor, and Johnny Unitas. Even Joe Namath, with whom Zimmerman had a legendary and well-documented 23-year feud, saw fit to eventually unburden himself to the remarkable scribe.  Also included are Zimmerman's encounters with luminaries and larger-than-life figures outside of sports, notably Donald Trump, Rupert Murdoch, and Hunter S. Thompson. But not to be missed are Zimmerman's quieter observations on his own life and writing, witticisms and anecdotes which sway between the poignant and hilarious. No matter the topic, Dr. Z: the Lost Memoirs of an Irreverent Football Writer proves essential, compelling reading for sports fans old and new.

    The Devil and Dr. Barnes traces the near-mythical journey of a man who was born into poverty, amassed a fortune through the promotion of a popular medicine, and acquired the premier private collection of works by such masters as Renoir, Matisse, Cézanne, and Picasso. Ostentatiously turning his back on the art establishment, Barnes challenged the aesthetic sensibilities of an uninitiated, often resistant and scoffing, American audience. In particular, he championed Matisse, Soutine, and Modigliani when they were obscure or in difficult straits. Analyzing what he saw as the formal relationships underlying all art, linking the old and the new, Barnes applied these principles in a rigorous course of study offered at his Merion foundation. Barnes's own mordant words, culled from the copious printed record, animate the narrative throughout, as do accounts of his associations with notables of the era--Gertrude and Leo Stein, Bertrand Russell, and John Dewey among them--many of whom he alienated with his appetite for passionate, public feuds. In this rounded portrait, Albert Barnes emerges as a complex, flawed man, who--blessed with an astute eye for greatness--has left us an incomparable treasure, gathered in one place and unforgettable to all who have seen it.

    In 1905 an unknown 26-year-old clerk at the Swiss Patent Office, who had supposedly failed math in school, burst on to the scientific scene and swept away the hidebound theories of the day. The clerk, Albert Einstein, introduced a new and unexpected understanding of the universe and launched the two great revolutions of twentieth-century physics, relativity and quantum mechanics. The obscure origin and wide-ranging brilliance of the work recalled Isaac Newton’s “annus mirabilis” (miracle year) of 1666, when as a 23-year-old seeking safety at his family manor from an outbreak of the plague, he invented calculus and laid the foundations for his theory of gravity. Like Newton, Einstein quickly became a scientific icon--the image of genius and, according to Time magazine, the Person of the Century.The actual story is much more interesting. Einstein himself once remarked that “science as something coming into being ... is just as subjectively, psychologically conditioned as are all other human endeavors.” In this profile, the historian of science L. Randles Lagerstrom takes you behind the myth and into the very human life of the young Einstein. From family rifts and girlfriend troubles to financial hardships and jobless anxieties, Einstein’s early years were typical of many young persons. And yet in the midst of it all, he also saw his way through to profound scientific insights. Drawing upon correspondence from Einstein, his family, and his friends, Lagerstrom brings to life the young Einstein and enables the reader to come away with a fuller and more appreciative understanding of Einstein the person and the origins of his revolutionary ideas.About the cover image: While walking to work six days a week as a patent clerk in Bern, Switzerland, Einstein would pass by the famous "Zytglogge" tower and its astronomical clocks. The daily juxtaposition was fitting, as the relative nature of time and clock synchronization would be one of his revolutionary discoveries in the miracle year of 1905.