Among his renowned portraits, "The Daughters of Edward Darley Boit" stands alongside "Madame X" and "Lady Agnew of Lochnaw" as one of Sargent's immortal images. This painting depicts four young sisters in the spacious foyer of the family's Paris apartment, strangely dispersed across the murky tones and depths of the square canvas, as though unrelated to one another, unsettled and unsettling to the eye. "The Daughters" both affirms and defies convention, flouting the boundaries between portrait and genre scene, formal composition and quick sketch or snapshot. Unveiled at the Paris Salon of 1883, it predated by just two years the scandal of "Madame X" and was itself characterized by one critic as "four corners and a void"; but Henry James came closer to the mark when he described the painter as a "knock-down insolence of talent," for few of Sargent's works embody the epithet as well as "The Daughters of Edward Darley Boit." Drawing on numerous unpublished archival documents, scholar Erica E. Hirshler excavates all facets of this iconic canvas, discussing not only its significance as a work of art but also the figures and events involved in its making, its importance for Sargent's career, its place in the tradition of artistic patronage and the myriad factors that have contributed to its lasting popularity and relevance. The result is an aesthetic, philosophical and personal tour de force that will change the way you look at Sargent's work, and that both illuminates an iconic painting and reaffirms its pungent magnetism.

    Starting with James Abbott McNeill Whistler and ending with Matthew Barney, nearly every prominent figure in Modern art is represented in vibrant double-page spreads that show how these artists continued to redefine norms and challenge tradition. Fascinating biographical and anecdotal information about each artist is provided alongside large reproductions of their most celebrated works, stunning details, and images of the artists themselves. A color-coded timeline spans the entire volume, showing overlapping careers and important historical dates. From the impressionists to the surrealists, the cubists to the pop-artists-readers will find a wealth of information as well as hours of enjoyment learning about this popular and prolific period in art history.

    The war began in China, two years before Hitler invaded Poland, and China eventually became the fourth great ally, partner to the United States, the Soviet Union, and Great Britain. Yet its drama of invasion, resistance, slaughter, and political intrigue remains little known in the West.Rana Mitter focuses his gripping narrative on three towering leaders: Chiang Kai-shek, the politically gifted but tragically flawed head of China’s Nationalist government; Mao Zedong, the Communists’ fiery ideological stalwart, seen here at the beginning of his epochal career; and the lesser-known Wang Jingwei, who collaborated with the Japanese to form a puppet state in occupied China. Drawing on Chinese archives that have only been unsealed in the past ten years, he brings to vivid new life such characters as Chiang’s American chief of staff, the unforgettable “Vinegar Joe” Stilwell, and such horrific events as the Rape of Nanking and the bombing of China’s wartime capital, Chongqing. Throughout, Forgotten Ally shows how the Chinese people played an essential role in the wider war effort, at great political and personal sacrifice.Forgotten Ally rewrites the entire history of World War II. Yet it also offers surprising insights into contemporary China. No twentieth-century event was as crucial in shaping China’s worldview, and no one can understand China, and its relationship with America today, without this definitive work.

    In this vivid and beautifully written biography, Helen Langdon tells the story of the great painter's life and times in a way that leaves the reader with a renewed appreciation of his art.

    He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. This is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).

    An autobiography of a young Chinese man whose childhood and adolescence were spent in Mao's China during the Cultural Revolution.

    The author of The Soong Dynasty gives us our most vivid and reliable biography yet of the Dowager Empress Tzu Hsi, remembered through the exaggeration and falsehood of legend as the ruthless Manchu concubine who seduced and murdered her way to the Chinese throne in 1861.

    But before achieving fame as an author, Carroll was a prolific and sophisticated photographer, acutely engaged in the art world of Victorian England. This illustrated volume examines Carroll's photographs not as the sideline of a celebrated writer, but as the creations of a serious photographic artist, and demonstrates their importance to the history of photography. Douglas Nickel traces the evolution in thought about Carroll's photography in the period since his death, demonstrating the ways it has been viewed largely through the filter of his literary reputation. Key to this have been certain preconceptions built up around Carroll's attitudes toward children, especially Alice Liddell, the inspiration for his first book and the subject of a number of his photographs. Nickel demonstrates how, by overturning the modern myths that have attached themselves to Carroll's photography, the works themselves can be seen again as they were by their original Victorian viewers. This analysis is designed to reveal not only Carroll's signal achievement in the medium, but also a new understanding of Victorian art photography in general.

    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.

    Her parents were taken from her at a young age, then her uncle sold her into prostitution; it was enough for many years just to cope and survive. One day, fate places a kind gentlemanin her path, and she begins to discover the city outside the brotheland the world beyond China's borders. As a larger canvas of life emerges, Pan realizes that she has something of value to say -- and a talent through which she can express herself. From Shanghai to Paris, Pan is challenged by the harsh realities in politics, art, and love, and must rely on her own strength to develop her talent. In so doing, she takes a relatively ordinary life and makes it extraordinary.A work of fiction -- but based on the life and work of a real artist -- The Painter from Shanghai transports readers to early-20th-century China, a culture marked by oppression. Epstein has proven herself a shining talent in this first novel, tackling such weighty questions as: How does a talented artist blossom, even under repressive conditions? What is art, and what is love? What makes a life well lived? The answers form a mesmerizing portrait of one young woman's journey to find herself and to nourish her creative talents despite appreciable odds.(Summer 2008 Selection)

    There’s Chan Sam, who left an "at home" wife in China to earn a living in "Gold Mountain"—North America. There’s May-ying, the wilful, seventeen-year-old concubine he bought, sight unseen, who labored in tea houses of west coast Chinatowns to support the family he would have in Canada, and the one he had in China. It was the concubine’s third daughter, the author’s mother, who unlocked the past for her daughter, whose curiosity about some old photographs ultimately reunited a family divided for most of the last century.

    Recognizing the fundamental disparity between agrarian and urban societies, Mao advocated unorthodox strategies that converted deficits into advantages: using intelligence provided by the sympathetic peasant population; substituting deception, mobility, and surprise for superior firepower; using retreat as an offensive move; and educating the inhabitants on the ideological basis of the struggle. This radical new approach to warfare, waged in jungles and mountains by mobile guerrilla bands closely supported by local inhabitants, has been adopted by other revolutionary leaders from Ho Chi Minh to Che Guevara. Mao wrote On Guerrilla Warfare in 1937 while in retreat after ten years of battling the Nationalist army of Chiang Kai-shek. Twelve years later, the Nationalist Chinese were rousted from the mainland, and Mao consolidated his control of a new nation, having put his theories of revolutionary guerrilla warfare to the test. Established governments have slowly come to recognize the need to understand and devise means to counter this new method of warfare. Samuel B. Griffith's classic translation makes Mao's treatise widely available and includes a comprehensive introduction that profiles Mao, analyzes the nature and conduct of guerrilla warfare, and considers its implications for American policy.