In the 1st edition, published in 1962, he spoke to that perennial reader he gently called "the troubled layman." His opening paragraph revealed his sympathy: "Why is this supposed to be art?" he quoted rhetorically. "How often have we heard this question asked--or asked it ourselves, perhaps--in front of one of the strange, disquieting works that we are likely to find nowadays in the museum or art exhibition?" Keeping that curious, questioning perspective in mind, he wrote a history of art from cave painting to Picasso that was singularly welcoming, illuminating & exciting. Sojourning thru this book, a reader is offered every amenity for a comfortable trip. Because he never assumes knowledge on the part of the reader, a recent immigrant from Mars could comprehend Western art from this text. The only assumption the Jansons have made is that with a little guidance everyone can come to understand the artifacts that centuries of architecture, sculpture, design & painting have deposited in our paths. Countless readers have proven the Jansons right & found their lives enriched in the process.

    That book was the last surviving manuscript of an ancient Roman philosophical epic, On the Nature of Things, by Lucretius—a beautiful poem of the most dangerous ideas: that the universe functioned without the aid of gods, that religious fear was damaging to human life, and that matter was made up of very small particles in eternal motion, colliding and swerving in new directions.The copying and translation of this ancient book—the greatest discovery of the greatest book-hunter of his age—fueled the Renaissance, inspiring artists such as Botticelli and thinkers such as Giordano Bruno; shaped the thought of Galileo and Freud, Darwin and Einstein; and had a revolutionary influence on writers such as Montaigne and Shakespeare and even Thomas Jefferson.

    But what makes Schmidt even more compelling to us is his day job. For forty-five years, Schmidt was an efficient and prolific public executioner, employed by the state to extract confessions and put convicted criminals to death. In his years of service, he executed 361 people and tortured, flogged, or disfigured hundreds more. Is it possible that a man who practiced such cruelty could also be insightful, compassionate, humane—even progressive? In his groundbreaking book, the historian Joel F. Harrington looks for the answer in Schmidt’s journal, whose immense significance has been ignored until now. Harrington uncovers details of Schmidt’s medical practice, his marriage to a woman ten years older than him, his efforts at penal reform, his almost touching obsession with social status, and most of all his conflicted relationship with his own craft and the growing sense that it could not be squared with his faith. A biography of an ordinary man struggling for his soul, The Faithful Executioner is also an unparalleled portrait of Europe on the cusp of modernity, yet riven by conflict and encumbered by paranoia, superstition, and abuses of power. In his intimate portrait of a Nuremberg executioner, Harrington also sheds light on our own fraught historical moment.

    1891), one of the leading figures of the surrealistic movement and among the most original artists of the 20th century. From old catalog and pulp novel illustrations, Ernst produced this series of 182 bizarre and darkly humorous collage scenes of classic dreams and erotic fantasies which seem mysteriously to lure the unconscious into view: Stern, proper-looking women sprout giant sets of wings, serpents appear in the drawing-room and bed chamber, a baron has the head of a lion, a parlor floor turns to water on which some people can apparently walk while others drown.Une Semaine de Bonté is divided into seven parts, one for each day of the week, with each section illustrating one of Ernst’s “seven deadly elements.” “Oedipus,” “The Court of the Dragon,” and “Three Visible Poems” are among the startling episodes of Ernst's week. The Dada and surrealist epigraphs which introduce each section appear in this edition in both French and English.Une Semaine de Bonté first appeared in 1934 in a series of five pamphlets of fewer than 1,000 copies each, and has never been reprinted before this present edition. Previously available only to a few libraries and collectors, this is a major source and great treat for anyone interested in the surrealists and their work, in collage, visual illusion, dream visions, and the interpretations of dreams.

    Among them are his most famous works, Knight, Death and Devil; Melencolia I; and St. Jerome in His Study. Also included are portraits of his contemporaries, including Erasmus of Rotterdam and Frederick the Wise, as well as six engravings formerly attributed to Dürer.

    During his life he created numerous works of art and kept voluminous notebooks that detailed his artistic and intellectual pursuits.The collection of writings and art in this magnificent book are drawn from his notebooks. The book organizes his wide range of interests into subjects such as human figures, light and shade, perspective and visual perception, anatomy, botany and landscape, geography, the physical sciences and astronomy, architecture, sculpture, and inventions. Nearly every piece of writing throughout the book is keyed to the piece of artwork it describes.The writing and art is selected by art historian H. Anna Suh, who provides fascinating commentary and insight into the material, making Leonardo's Notebooks an exquisite single-volume compendium celebrating his enduring genius.

    It wiped out one-third of Europe's population, taking some 20 million lives. And yet, most of what we know about it is wrong. The details of the Plague etched in the minds of terrified schoolchildren—the hideous black welts, the high fever, and the awful end by respiratory failure—are more or less accurate. But what the Plague really was and how it made history remain shrouded in a haze of myths.Now, Norman Cantor, the premier historian of the Middle Ages, draws together the most recent scientific discoveries and groundbreaking historical research to pierce the mist and tell the story of the Black Death as a gripping, intimate narrative.

    There is no question that Robert Frank's The Americans is the most famous and influential photography book ever published. It was 1959 when the book first came out: a series of deceptively simple photographs that Frank took on a trip through America in '55 and '56, pictures of normal people, everyday scenes: lunch counters, bus depots, cars, and the stangely familiar faces of people we don't quite know but have seen somewhere. They are pictures that saw the "American way of life" as we hadn't yet quite been able to see it ourselves, photographs that condensed the entire life of a nation in classic images that still speak to us today, forty years and several generations later.

    Situations include these men in art and antiquity sharing keen insight on the female anatomy, an eloquent defense of catcalling, or offering sage advice about horseback riding to the woman who owns the horse and many more situations.

    With little experience as a painter (though famed for his sculpture David), Michelangelo was reluctant to begin the massive project. Michelangelo and the Pope's Ceiling recounts the four extraordinary years Michelangelo spent laboring over the vast ceiling while the power politics and personal rivalries that abounded in Rome swirled around him. Battling against ill health, financial difficulties, domestic problems, the pope's impatience, and a bitter rivalry with the brilliant young painter Raphael, Michelangelo created scenes so beautiful that they are considered one of the greatest masterpieces of all time. A panorama of illustrious figures converged around the creation of this great work-from the great Dutch scholar Desiderius Erasmus to the young Martin Luther-and Ross King skillfully weaves them through his compelling historical narrative, offering uncommon insight into the intersection of art and history.

    Back in print for the first time in nearly thirty years, here is Yoko Ono's whimsical, delightful, subversive, startling book of instructions for art and for life."A dream you dream alone may be a dream, but a dream two people dream together is a reality.""Burn this book after you've read it." -- Yoko Ono"This is the greatest book I've ever burned." -- John Lennon

    But the concept falls under such an absurdly large umbrella and can manifest in so many different ways. Art can be self indulgent, goofy, serious, altruistic, evil, or expressive, or any number of other things. But how can it truly make lasting, positive change? In Why Art?, acclaimed graphic novelist Eleanor Davis (How To Be Happy) unpacks some of these concepts in ways both critical and positive, in an attempt to illuminate the highest possible potential an artwork might hope to achieve. A work of art unto itself, Davis leavens her exploration with a sense of humor and a thirst for challenging preconceptions of art worth of Magritte, instantly drawing the reader in as a willing accomplice in her quest.

    Barbara Tuchman anatomizes the century, revealing both the great rhythms of history and the grain and texture of domestic life as it was lived.

    Against the background of an age which saw the rebirth of ancient and classical learning - of humanism which penetrated and explored the arts and sciences and the 'dark' knowledge of alchemy, astrology, and numerology - Paul Strathern explores the intensely dramatic rise and fall of the Medici family in Florence, as well as the Italian Renaissance which they did so much to sponsor and encourage. Interwoven into the narrative are the lives of many of the great Renaissance artists with whom the Medici had dealings, including Leonardo, Michelangelo and Donatello, as well as scientists like Galileo and Pico della Mirandola, both of whom clashed with the religious authorities. In this enthralling study, Paul Strathern also follows the fortunes of those members of the Medici family who achieved success away from Florence, including the two Medici popes and Catherine de' Médicis who became Queen of France and played a major role in that country through three turbulent reigns. Vivid and accessible, the book ends with the gloriously decadent decline of the Medici family in Florence as they strove to be recognised as European Princes.

    Because they could be mass produced, ukiyo-e works were often used as designs for fans, New Year's greeting cards, single prints, and book illustrations, and traditionally they depicted city life, entertainment, beautiful women, kabuki actors, and landscapes. The influence of ukiyo-e in Europe and the USA, often referred to as Japonisme, can be seen in everything from impressionist painting to today's manga and anime illustration. This reprint is made from one of the finest complete original set of woodprints belonging to the Ota Memorial Museum of Art in Tokyo.