The monumental arts and the diverse minor arts of the Middle Ages are presented here within the social, religious, and political frameworks of lands as varied as France and Denmark, Spain and Turkey. Marilyn Stokstad also teaches her reader how to look at medieval art-which aspects of architecture, sculpture, or painting are important and for what reasons. Stylistic and iconographic issues and themes are thoroughly addressed with attention paid to aesthetic and social contexts. Significantly updated, this second edition of Medieval Art spans the period from the second to the fifteenth centuries and includes over 4000 illustrations, over 100 in color, detailed maps, a time-line, glossary, bibliography, and index-all in a larger 8 by 10 inch trim size.

    Offering a unique insight into the very essence of graffiti and its creative explosion over the past thirty-five years, it takes us on an adventure throughout the Americas and Europe to almost every corner of the globe." With over 2,000 pictures of artworks from more than 180 international artists, no other book is remotely so comprehensive or up to date. Nicholas Ganz combines his own first-hand experiences with quotes from the artists themselves to offer a true insider's perspective to the key trends and style developments that have made graffiti what it is today: a global phenomenon.

    How Buildings Learn is a masterful new synthesis that proposes that buildings adapt best when constantly refined and reshaped by their occupants, and that architects can mature from being artists of space to becoming artists of time. From the connected farmhouses of New England to I.M. Pei's Media Lab, from "satisficing" to "form follows funding," from the evolution of bungalows to the invention of Santa Fe Style, from Low Road military surplus buildings to a High Road English classic like Chatsworth—this is a far-ranging survey of unexplored essential territory.More than any other human artifacts, buildings improve with time—if they're allowed to. How Buildings Learn shows how to work with time rather than against it.

    Nell Irvin Painter's journey is filled with surprises, even as she brings to bear the incisiveness of her insights from two careers, which combine in new ways even as they take very different approaches—one searching for facts and cohesion, the other seeking the opposite. She travels from her beloved Newark to the prestigious Rhode Island School of Design; finds meaning in the artists she loves, such as Alice Neel, Faith Ringgold, or Maira Kalman, even as she comes to understand how they are undervalued; and struggles with the ever-changing balance between the pursuit of art and the inevitable, sometimes painful demands of a life fully lived.

    The Great Movies collects one hundred of these essays, each one of them a gem of critical appreciation and an amalgam of love, analysis, and history that will send readers back to that film with a fresh set of eyes and renewed enthusiasm–or perhaps to an avid first-time viewing. Ebert’s selections range widely across genres, periods, and nationalities, and from the highest achievements in film art to justly beloved and wildly successful popular entertainments. Roger Ebert manages in these essays to combine a truly populist appreciation for our most important form of popular art with a scholar’s erudition and depth of knowledge and a sure aesthetic sense. Wonderfully enhanced by stills selected by Mary Corliss, film curator at the Museum of Modern Art, The Great Movies is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again.The Great Movies includes: All About Eve • Bonnie and Clyde • Casablanca • Citizen Kane • The Godfather • Jaws • La Dolce Vita • Metropolis • On the Waterfront • Psycho • The Seventh Seal • Sweet Smell of Success • Taxi Driver • The Third Man • The Wizard of Oz • and eighty-five more films.From the Hardcover edition.

    Nowhere is this more apparent than in the writings of Marcel Duchamp, who fashioned some of the more joyous and ingenious couplings and uncouplings in modern art. This collection beings together two essential interviews and two statements about his art that underscore the serious side of Duchamp. But most of the book is made up of his experimental writings, which he called ”Texticles,” the long and extraordinary notes he wrote for The Bride Stripped Bare By Her Bachelors, Eben (also known as The Large Glass), and the outrageous puns and alter-ego he constructed for his female self, Rrose Sélavy (”Eros, c’est la vie” or “arouser la vie”—“drink it up”; “celebrate life”). Wacky, perverse, deliberately frustrating, these entertaining notes are basic for understanding one of the twentieth century’s most provocative artists, a figure whose influence on the contemporary scene has never been stronger.

    With their compelling composition and glowing colour, these works are admired for their beauty and for their power to transport the viewer into a romantic world of myth and legend. At the same time, Waterhouse's wistful heroines also reflect the troubled attitudes of nineteenth-century male artists towards women.In this carefully researched new study, Peter Trippi presents a fresh and absorbing analysis of the artist's seductresses, martyrs and nymphs, and the cultural and historical circumstances in which they were produced. He also draws on new research to provide an accessible biography of the artist. Themes explored include Waterhouse's passion for Italy, literature and the classical world, the role of the Royal Academy in his life, his stylistic influences and studio practice, and his relations with collectors, dealers, critics and curators.Neglected throughout much of the twentieth century, Waterhouse has enjoyed a dramatic revival of fortune. Trippi's monograph provides a timely re-evaluation that combines a close reading of Waterhouse's imagery with a candid appraisal of the milieu in which he worked.

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    These fundamentals of design, once the exclusive domain of professional typographers, have become an essential starting point for anyone looking for a fresh way to communicate. Practical information about creating letters and type often amounts to a series of guidelines for executing a particular process, font program, or style. But what makes lettering and type endlessly fascinating is the flexibility to interpret and sometimes even break these rules. Lettering & Type is a smart-but- not-dense guide to creating and bending letters to one's will. More than just another pretty survey, it is a powerful how-to book full of relevant theory, history, explanatory diagrams, and exercises. While other type design books get hung up on the technical and technological issues of type design and lettering, Lettering & Type features the context and creativity that shape letters and make them interesting. Authors and designers Bruce Willen and Nolen Strals examine classic design examples as well as exciting contemporary lettering of all stripes—from editorial illustrations to concert posters to radical conceptual alphabets. Lettering & Type is ideal for anyone looking to move beyond existing typography and fonts to create, explore, and use original or customized letterforms. This latest addition to our best-selling Design Briefs seriesfeatures a foreword by Ellen Lupton and hundreds of images and examples of work by historical and contemporary designers, artists, and illustrators, including Marian Bantjes, Stefan Sagmeister, Matthew Carter, Christoph Niemann, Steve Powers (ESPO), House Industries, Christian Schwartz, Margaret Kilgallen, James Victore, Abbott Miller, Sibylle Hagmann, Ed Fella, and many more. Throughout the book interviews with type designers, artists, and graphic designers provide real-world perspective from contemporary practitioners.

    From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso's blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history.In this book, Kassia St. Clair has turned her lifelong obsession with colors and where they come from (whether Van Gogh's chrome yellow sunflowers or punk's fluorescent pink) into a unique study of human civilization. Across fashion and politics, art and war, the secret lives of color tell the vivid story of our culture.

    Encompassing a grand sweep of human history, A History of the World in 100 Objects begins with one of the earliest surviving objects made by human hands, a chopping tool from the Olduvai gorge in Africa, and ends with objects which characterise the world we live in today. Seen through MacGregor's eyes, history is a kaleidoscope - shifting, interconnected, constantly surprising, and shaping our world today in ways that most of us have never imagined. A stone pillar tells us about a great Indian emperor preaching tolerance to his people; Spanish pieces of eight tell us about the beginning of a global currency; and an early Victorian tea-set speaks to us about the impact of empire. An intellectual and visual feast, this is one of the most engrossing and unusual history books published in years. 'Brilliant, engagingly written, deeply researched' Mary Beard, Guardian 'A triumph: hugely popular, and rightly lauded as one of the most effective and intellectually ambitious initiatives in the making of 'public history' for many decades' Sunday Telegraph 'Highly intelligent, delightfully written and utterly absorbing ' Timothy Clifford, Spectator 'This is a story book, vivid and witty, shining with insights, connections, shocks and delights' Gillian Reynolds Daily Telegraph

    In Bohemian Paris, Dan Franck leads us on a vivid and magical tour of the Paris of 1900-1930, a hotbed of artistic creation where we encounter the likes of Apollinaire, Modigliani, Cocteau, Matisse, Picasso, Hemingway, and Fitzgerald, working, loving, and struggling to stay afloat. 16 pages of black-and-white illustrations are also featured.

    This book sets out to provide the first concise interpretation of the period as a whole, clarifying the artists and their works along the way. Closely informed by new critical approaches, it concentrates on the relationship between American and European art from the end of the Second World War to the eve of the new millennium.Jackson Pollock, Jasper Johns, Yves Klein, Andy Warhol, Louise Bourgeois, Cindy Sherman, and Damien Hirst are among many artists discussed, with careful attention being given to the political and cultural worlds they inhabited. Moving along a clear timeline, the author highlights key movements such as Abstract Expressionism, Pop Art, Minimalism, Conceptualism, Postmodernism, and performance art to explain the theoretical and issue-based debates that have provided the engine for the art of this period.

    Traces the history of Abstract Expressionism, and examines its political implications and the cultural context in which it developed.

    Describes the principles of wabi-sabi, a Japanese aesthetic associated with Japanese tea ceremonies and based on the belief that true beauty comes from imperfection and incompletion, through text and photographs.