Drawing on newly examined archival sources, it provides a fascinating in-depth examination of the making of the photographs and the book's construction, using vintage contact sheets, work prints and letters that literally chart Frank's journey around the country on a Guggenheim grant in 1955-56. Curator and editor Sarah Greenough and her colleagues also explore the roots of The Americans in Frank's earlier books, which are abundantly illustrated here, and in books by photographers Walker Evans, Bill Brandt and others. The 83 original photographs from The Americans are presented in sequence in as near vintage prints as possible. The catalogue concludes with an examination of Frank's later reinterpretations and deconstructions of The Americans, bringing full circle the history of this resounding entry in the annals of photography. This volume is a reprint of the 2009 edition.

    The creator of expansive tableaus of fantastic and hellish scenes—where any devil not dancing is too busy eating human souls—he has been as equally misunderstood by history as his paintings have. In this book, Nils Büttner draws on a wealth of historical documents—not to mention Bosch’s paintings—to offer a fresh and insightful look at one of history’s most peculiar artists on the five-hundredth anniversary of his death.             Bosch’s paintings have elicited a number a responses over the centuries. Some have tried to explain them as alchemical symbolism, others as coded messages of a secret cult, and still others have tried to psychoanalyze them. Some have placed Bosch among the Adamites, others among the Cathars, and others among the Brethren of the Free Spirit, seeing in his paintings an occult life of free love, strange rituals, mysterious drugs, and witchcraft. As Büttner shows, Bosch was—if anything—a hardworking painter, commissioned by aristocrats and courtesans, as all painters of his time were. Analyzing his life and paintings against the backdrop of contemporary Dutch culture and society, Büttner offers one of the clearest biographical sketches to date alongside beautiful reproductions of some of Bosch’s most important work. The result is a smart but accessible introduction to a unique artist whose work transcends genre.

    Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    Through a bureaucratic error, though, Marx is sent to Soho in New York, rather than his old stomping ground in London, to make his case.Zinn introduces us to Marx's wife, Jenny, his children, the anarchist Mikhail Bakunin, and a host of other characters.Marx in Soho is a brilliant introduction to Marx's life, his analysis of society, and his passion for radical change. Zinn also shows how relevant Marx's ideas are for today's world.Historian and activist Howard Zinn is the author of the bestselling A People's History of the United States and numerous other writings. He recently received the Eugene V. Debs and Lannan Foundation awards for his writing and political activism. He is also the author of Emma, a play about Emma Goldman, in the anthology Playbook (South End Press).Praise for Marx in Soho:"An imaginative critique of our society's hypocrisies and injustices, and an entertaining, vivid portrait of Karl Marx as a voice of humanitarian justice - which is perhaps the best way to remember him."-Kirkus Reviews"A cleverly imagined call to reconsider socialist theory... Zinn's point is well made; his passion for history melds with his political vigor to make this a memorable effort and a lucid primer for readers desiring a succinct, dramatized review of Marxism."-Publishers Weekly"Even in heaven it seems, Karl Marx is a troublemaker. But in the deft and loving hands of activist/author/historian Howard Zinn, the historical figure... is also a father, a husband and a futurist possessing a grand sense of humor."-ForeWord"A witty delight that will engage both new and old acquaintances of the Marxian corpus.... Even conservatives will find Zinn's [book]... an intelligent and diverting read. Recommended for academic and public libraries alike."-Library Journal

    Come face to face with modern-day dinosaurs, extraterrestrials, dragons, lizard men, giants, and flying humanoids. This illustrated collection includes more than 250 monsters and cryptids that will make your hair stand on end when you hear something go bump in the night.From Alabama to Wyoming and everywhere in between, these enigmatic abominations lurk in the darkest corners and the deepest shadows. This eye-opening book details the origins, appearance, and behaviors of these bizarre creatures so that if you should come across a terrifying beast in the wild, you'll know exactly what you're dealing with.Praise: "Jason Offutt does a special service to the field of cryptozoology with this new book Chasing American Monsters. By keeping all of us up-to-date and incredibly informed--beyond the scope of lesser guidebooks--we have a better head start on knowing where to look for these cryptids. Highly recommended."--Loren Coleman, author of Cryptozoology A to Z and director of the International Cryptozoology Museum

    Examining such factors as style, quality, and mode of representation in terms of five opposed dynamisms (the linear vs. painterly, plane vs. recession, closed vs. open form, multiplicity vs. unity, and clearness vs. unclearness), the author analyzes the work of 64 major artists, delving even into sculpture and architecture. 150 illustrations of the work of Botticelli, van Cleve, Durer, Holbein, Brueghel, Bouts, Hals, Rembrandt, Velasquez, Titian, Vermeer, and other major figures accompany Professor Wölfflin's brilliant contributions to the methodology of art criticism.Whether you teach art, study it, or want to understand it purely for your own enjoyment, this epoch-making study will certainly increase your comprehension of and pleasure in the world's art heritage.

    They make it seem so easy, those other women who write of uprooting themselves from everything they know, crossing the world and forming effortless friendships with strangers—despite not understanding a word they say—while reinventing themselves in beautiful European cities. So it's not surprising that Rachael is completely unprepared for the realities that confront her in her strange new world. However, in this warm and witty tale of life in a foreign land, Rachael, somewhat to her own surprise, finds herself gradually creating a second home in Prague, complete with an eccentric and unlikely tribe of extended family and friends; and realizes along the way that while she's been striving so hard to become someone else, she has inadvertently grown to rather like the person she has always been.

    Islamic, martial, civilized, and tolerant, it advanced in three centuries from the dusty foothills of Anatolia to rule on the Danube and the Nile; at its height, Indian rajahs and the kings of France beseeched the empire's aid. In its last three hundred years the empire seemed ready to collapse, a prodigy of survival and decay. In this striking evocation of the empire's power, Jason Goodwin explores how the Ottomans rose and how, against all odds, they lingered on. In doing so, he also offers a long look back to the origins of problems that plague present-day Kosovars and Serbs.

    But for all her aunt's spiteful attempts to break Nell's independent spirit, she has never succeeded. But now Nell, pregnant and alone, is forced to leave behind the men in her life, believing she might never be able to return.With little but the clothes she wears, she travels across the Bedfordshire countryside of 1890. When she encounters a scruffy urchin called Kit, a ten-year-old orphan who's lived his whole life on the streets, she takes him under her wing. The pair become devoted friends, never knowing where their journey will take them, but each aware that the time will come when there must be a reckoning.

    The concluding chapter by Amy de la Haye, covering the second half of the twentieth century, has now been updated by Andrew Tucker. He discusses the reinvention in the 1990s of the luxury label Gucci, the rise of houses such as Prada and Tommy Hilfiger, and the appointments of relatively avant-garde British, American, and European designers to head classic French houses. All the late-twentieth-century and turn-of-the-century style innovations are included, such as the appropriation of utility clothing by designers like Helmut Lang—who spearheaded the predominantly unisex urban sportswear look—and the impact of workplace dressing down on masculine fashion. The phenomenon of the must-have accessory—the pashmina shawl and the Fendi baguette, for example—is also considered.

    She could neither read nor write, and she was the reviled victim in a public rape trial, rejected by her father, and later abandoned by her husband. Nevertheless, she was one of the first women in modern times to uphold through her work and deeds the right of women to pursue careers compatible with their talents and on an equal footing with men. This edition features a new introduction by the celebrated critic and writer Susan Sontag. Anna Banti, the pen name of Lucia Lopresti, was born in Florence in 1895. Trained as an art historian, she turned to novels, stories, and autobiographical prose in the 1930s. Artemisia, her second novel, published in 1947, is the most acclaimed of the sixteen works of fiction she published during her long life, and is considered a classic of twentieth century Italian literature. Her last, harrowingly confessional novel, A Piercing Cry (Un grido lacerante), appeared in 1981. Banti also wrote art criticism and monographs on painters (Lorenzo Lotto, Fra Angelico, Velázquez, Monet), literary criticism and film reviews, and translated novels by Thackery, Colette, Alain Fournier, and Virginia Woolf. She died in Ronchi di Massa (Tuscanny) in 1985.

    In this anthology of art-historical writings from the Renaissance to the present day, key texts have been chosen in which the authors reflect on the nature of their subject and on their own methods of inquiry. Included are texts by Vasari, Winckelmann, Burckhardt, Wolfflin, Panofsky, Gombrich and Pollock, among others. The introduction gives a lucid and readable summary of art-historical methods, and each of the texts is accompanied by a commentary that places it in context and discusses the issues it raises. Also provided is a critical glossary of terms and a select bibliography.

    Alexander Armstrong and Richard Osman, two of the world's foremost experts on Things Before Their Time[3] take you on a step-by-step journey through history.From the Big Bang to the Fall of the Roman Empire, from the Ice Age to the Evolution of Language, from Henry VIII to Last of the Summer Wine: all of civilisation is here. A publishing first, this thoroughly comprehensive and highly ambitious quest through Time and Space is interspersed with questions for all the family from TV's most popular tea-time quiz show, Pointless. This is Alexander and Richard's biggest book yet.The book no historian can afford to be without[4], it comes complete with introduction and footnotes[5]. [1] Highly selective[2] Largely cobbled together from what we can remember from school [3] That's not even a thing[4] Under no circumstances to be used for reference[5] Um...

    As much as anyone in the modern era, he changed human thought, and his influence is still felt in virtually all aspects of our lives. This new edition, larger and more varied than the previous ones, includes more of Darwin's own work and also presents the most recent research and scholarship on all aspects of Darwin’s legacy. The biological sciences, as well as social thought, philosophy, ethics, religion, and literature, have all been shaped and reshaped by evolutionary concepts.Excerpts from the most important books and articles of recent years confirm this Darwinian heritage. New work by Richard Dawkins, Edward O. Wilson, Kevin Padian, Eugene C. Scott, Steven Pinker, Daniel Dennett, Michael Ruse, Frans de Waal, Noretta Koertge, George C. Williams, George Levine, Stephen Jay Gould, Gillian Beer, Ernst Mayr, and many others illuminates this exciting intellectual history. A wide-ranging new introduction by the editor provides context and coherence to this rich body of engaging material, much of which will be shaping human thought well into the new century.This collection of Darwin's writing, those of his critics and those of his intellectual descendants, includes:- The Voyage of the Beagle (1845): Ch. I, XVII- On the Tendency of Species to Form Varieties; And on the Perpetuation of Varieties and Species by Natural Means of Selection (1858): Ch. I-II- An Historical Sketch of the Progress of Opinion on the Origin of Species Previously to the Publication of this Work (1861) The Origin of Species (1859): Introduction, Ch. I-IV, VI, IX, XIII-XIV- The Descent of Man (1871): Introduction, Ch. I-III, VI, VIII, XIX-XXI

    On a May evening in 1922, the English arts lovers Violet and Sydney Schiff convened a grand dinner at the Majestic Hotel in Paris, following the premiere of a Stravinsky ballet. In addition to guests of honor Stravinsky and Diaghilev, the dinner was attended by Picasso, James Joyce, and finally, arriving around 2:30 in the morning, one more artist at the peak of his fame: Marcel Proust. Sodom and Gomorrah, the fourth and most shocking volume of Proust's monumental work In Search of Lost Time, had just appeared, transfixing readers with its finely detailed observations on themes of Jewishness and anti-Semitism, the interplay across social classes, and all manner ofsexual expression. The book's eccentric, ailing author had become a celebrity to French and English-language readers alike, and his presence at the dinner was all the more unusual since Proust rarely went out. In fact, he would be dead only six months later. Acclaimed historian and biographer Davenport-Hines takes the dinner at the Majestic as the leaping-off point for an examination of Proust's last days, and the enormous reaction his novel garnered from its first years of publication. Using accounts by Proust]s contemporaries, including other modernist stars, Proust's dazzled readers, and wealthy patrons such as the Schiffs, Davenport-Hines illuminates the Paris of the author's last days.