She was a daughter of the American Revolution—Anglo-Saxon, Republican, Episcopalian. She was tough, disciplined, courageous, dazzling, and went up against the masculine art world at its most entrenched, made her way in it, and disproved their notion that women couldn’t paint.Joan Mitchell is the first full-scale biography of the abstract expressionist painter who came of age in the 1950s, ’60s, and ’70s; a portrait of an outrageous artist and her struggling artist world, painters making their way in the second part of America’s twentieth century. As a young girl she was a champion figure skater, and though she lacked balance and coordination, accomplished one athletic triumph after another, until giving up competitive skating to become a painter. Mitchell saw people and things in color; color and emotion were the same to her. She said, “I use the past to make my pic[tures] and I want all of it and even you and me in candlelight on the train and every ‘lover’ I’ve ever had—every friend—nothing closed out. It’s all part of me and I want to confront it and sleep with it—the dreams—and paint it.”Her work had an unerring sense of formal rectitude, daring, and discipline, as well as delicacy, grace, and awkwardness.Mitchell exuded a young, smoky, tough glamour and was thought of as “sexy as hell.” Albers writes about how Mitchell married her girlhood pal, Barnet Rosset, Jr.—scion of a financier who was head of Chicago’s Metropolitan Trust and partner of Jimmy Roosevelt. Rosset went on to buy Grove Press in 1951, at Mitchell’s urging, and to publish Henry Miller, Samuel Beckett, Jean Genet, Jack Kerouac, Allen Ginsberg, et al., making Grove into the great avant-garde publishing house of its time. Mitchell’s life was messy and reckless: in New York and East Hampton carousing with de Kooning, Frank O’Hara, James Schuyler, Jane Freilicher, Franz Kline, Helen Frankenthaler, and others; going to clambakes, cocktail parties, softball games—and living an entirely different existence in Paris and Vétheuil.Mitchell’s inner life embraced a world beyond her own craft, especially literature . . . her compositions were informed by imagined landscapes or feelings about places. In Joan Mitchell, Patricia Albers brilliantly reconstructs the painter’s large and impassioned life: her growing prominence as an artist; her marriage and affairs; her friendships with poets and painters; her extraordinary work. Joan Mitchell re-creates the times, the people, and her worlds from the 1920s through the 1990s and brings it all spectacularly to life.

    This richly illustrated and expert study follows the artist from the early gloom-laden paintings in which he captured the misery of peasants and workers in his homeland, through his bright and colorful Parisian period, to the work of his final years, spent under a southern sun in Arles.

    Author of over a dozen bestsellers, Academy Award-winning screenwriter, and creator of some of television's greatest hits, Sheldon has seen and done it all, and now in this candid memoir, he shares his story for the first time.

    Saved from the drudgery of a working-class existence by a young Pre- Raphaelite artist, Lizzie Siddal rose to become one of the most famous faces in Victorian Britain and a pivotal figure of London's artistic world, until tragically ending her life in 1862.

    Holland present a fascinating look at America’s most popular radio host. You’ll discover how the brutal murder of his father shaped Paul Harvey’s life and career; how a high school teacher helped launch him in radio; the truth behind his brief and controversial career in the Air Force; why he was arrested for breaking into a secure research laboratory during the Cold War; why he proposed to his wife, “Angel,” on their very first date—and why it took her a year to say yes; the important role of faith in his life; and how his immeasurable contributions to broadcast history transformed American culture.

    An autobiography with Joan Dew - illustrated with photo section - Burt Reynolds Ode to Tammy

    Yet, as bestselling biographer Sarah Bradford reveals in this breathtaking new portrait, the truth is far more fascinating than the myth. Neither a vicious monster nor a seductive pawn, Lucrezia Borgia was a shrewd, determined woman who used her beauty and intelligence to secure a key role in the political struggles of her day.Drawing from a trove of contemporary documents and fascinating firsthand accounts, Bradford brings to life the art, the pageantry, and the dangerous politics of the Renaissance world Lucrezia Borgia helped to create.

    But had this bold and spirited beauty really descended into prostitution, drunkenness, and early death--or did her life, hidden from history, take a different course altogether? Eunice Lipton's search for the answer combines the suspense of a detective story with the revelatory power of art, peeling off layers of lies to reveal startling truths about Victorine Meurent--and about Lipton herself.

    Most of his pictures, all of which are reproduced in this text, show women about their daily business. Vermeer records the tasks and duties of women, the imperatives of virtue under which their lives were lived, and the dreams that provided the substance of their contrasting counter-world.

    On its first publication, the reviewer of Books observed: "It is impossible not to admire this painter as writer ... (Dalí) succeeds in doing exactly what he sets out to do ... communicates the snobbishness, self-adoration, comedy, seriousness, fanaticism, in short the concept of life and the total picture of himself he sets out to portray." Superbly illustrated with over eighty photographs of Dalí and his works, and scores of Dalí drawings and sketches.

    His unique image, complete with V-sign, giant cigar, and outlandish costumes, was as universally famous as Charlie Chaplin's tramp. Now, in Churchill, The Unexpected Hero, Paul Addison offers a major reassessment of this highly charismatic figure, focusing largely on the life-long battle over Churchill's reputation. Churchill's career, notes Addison, was one of snakes and ladders. The longest of the snakes was Gallipoli, the ill-starred military campaign that all but destroyed his career in 1915. After Gallipoli, Churchill's reputation plummeted, and he was attacked as a shameless egotist, an opportunist without principles or convictions, an unreliable colleague, an erratic policy-maker who lacked judgement, and a reckless amateur strategist with a dangerous passion for war and bloodshed. Indeed, throughout his career, at one time or another, Churchill offended every party and faction in the land. Yet all but the most hostile also conceded that he possessed great abilities, remarkable eloquence, and a streak of genius, and with the coming of World War II, the man long excluded from high office--on the grounds that he was a danger to King and Country--became the savior of that country, a truly great war leader. As Churchill's reputation skyrocketed, Addison shows how his heroic self-image was communicated to the world through a stupendous public relations campaign in which oratory, journalism, and history were all pressed into service. Churchill won two great victories in World War II. The first was a victory over Nazi Germany. The second, a victory over the legion of skeptics who derided his judgement and denied his claims to greatness.

    Rejected by his family, hounded by society for his interest in young girls, he expressed through his art a deep and bewildering loneliness and an obsession with sexuality, death and decay. He was only twenty-eight when he died, yet he left behind him a body of work that sustains a huge public reputation--and a myth. This book sets out to examine both. 151 illus., 20 in color.

    It contains a discography, gig list and a full set of lyrics.

    Peggy's visionary Art of This Century gallery in New York, which brought together the European surrealist artists with the American abstract expressionists, was an epoch-shaking "happening" at the center of its time. Dearborn's unprecedented access to the Guggenheim family, friends, and papers contributes rich insight to Peggy's traumatic childhood in German-Jewish "Our Crowd" New York, her self-education in the ways of art and artists, her caustic battles with other art-collecting Guggenheims, and her legendary sexual appetites: her lovers included Max Ernst, Samuel Beckett, and Marcel Duchamp, to name a mere few. Here too is a poignant portrait of Peggy's last years as l'ultima dogaressa -- the last duchess -- in her palazzo in Venice, where her collection still draws thousands of visitors every year. Mistress of Modernism is the first definitive biography of a woman whose wit, passion, and provocative legacy come compellingly to life.

    The monetary value is estimated at over half a billion dollars. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and frank interviews, Felch and Frammolino give us a fly-on-the-wall account of the inner workings of a world-class museum and tell the story of the Getty’s dealings in the illegal antiquities trade. The outlandish characters and bad behavior could come straight from the pages of a thriller—the wealthy recluse founder, the cagey Italian art investigator, the playboy curator, the narcissist CEO—but their chilling effects on the rest of the art world have been all too real, as the authors show in novelistic detail. Fast-paced and compelling, Chasing Aphrodite exposes the layer of dirt beneath the polished façade of the museum business.