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.

    The sisters nurture Gabrielle’s exceptional sewing skills, a talent that will propel the willful young woman into a life far removed from the drudgery of her childhood.Transforming herself into Coco—a seamstress and sometime torch singer—the petite brunette burns with ambition, an incandescence that draws a wealthy gentleman who will become the love of her life. She immerses herself in his world of money and luxury, discovering a freedom that sparks her creativity. But it is only when her lover takes her to Paris that Coco discovers her destiny.Rejecting the frilly, corseted silhouette of the past, her sleek, minimalist styles reflect the youthful ease and confidence of the 1920s modern woman. As Coco’s reputation spreads, her couturier business explodes, taking her into rarefied society circles and bohemian salons. But her fame and fortune cannot save her from heartbreak as the years pass. And when Paris falls to the Nazis, Coco is forced to make choices that will haunt her.An enthralling novel of an extraordinary woman who created the life she desired, Mademoiselle Chanel explores the inner world of a woman of staggering ambition whose strength, passion and artistic vision would become her trademark.

    His name was Leonardo, and he was destined to change the world forever. Caterina suffered much cruelty as an unmarried mother and had no recourse when her boy was taken away from her. But no one knew the secrets of her own childhood, nor could ever have imagined the dangerous and heretical scheme she would devise to protect and watch over her remarkable son. This is her story.

    At its heart is one of the world's greatest love stories: the lifelong devotion of King Henri II of France to Diane de Poitiers, a beautiful aristocrat who was nineteen years older than her lover.At age fourteen, Henri was married to fourteen-year-old Catherine de' Medici, an unattractive but extremely wealthy heiress who was to bring half of Italy to France as her dowry. When Catherine met Henri on her wedding day, she fell instantly in love, but Henri could see no one but the beautiful Diane. When Henri eventually became king, he and Diane ruled France as one. Meanwhile, Catherine took as her secret motto the words "Hate and Wait" and lived for the day Diane would die and she could win Henri's love and rule by his side. Fate had another plan.Her Royal Highness Princess Michael of Kent, herself a descendant of both Catherine and Diane, imbues this seldom-told story with an insider's grasp of royal life. The Serpent and the Moon is a fascinating love story as well as a richly woven history of an extraordinary time.

    Her royal birth gave her claim to the thrones of two nations; her marriage to the young French dauphin promised to place a third glorious crown on her noble head. Instead, Mary Stuart became the victim of her own impulsive heart, scandalizing her world with a foolish passion that would lead to abduction, rape, and even murder. Betrayed by those she most trusted, she would be lured into a deadly game of power, only to lose to her envious and unforgiving cousin, Elizabeth I. Here is her story, a queen who lost a throne for love, a monarch pampered and adored even as she was led to her beheading, the unforgettable woman who became a legend for all time.

    Often referred to by the subject of its central panel, The Adoration of the Mystic Lamb, it represents the fulcrum between the Middle Ages and the Renaissance. It is also the most frequently stolen artwork of all time.Since its completion in 1432, this twelve-panel oil painting has been looted in three different wars, burned, dismembered, forged, smuggled, illegally sold, censored, hidden, attacked by iconoclasts, hunted by the Nazis and Napoleon, used as a diplomatic tool, ransomed, rescued by Austrian double-agents, and stolen a total of thirteen times.In this fast-paced, real-life thriller, art historian Noah Charney unravels the stories of each of these thefts. In the process, he illuminates the whole fascinating history of art crime, and the psychological, ideological, religious, political, and social motivations that have led many men to covet this one masterpiece above all others.

    But though Freud compared himself to Copernicus and Darwin, his history as a physician is problematic. Historians have determined that Freud often misrepresented the course and outcome of his treatments—so that the facts would match his theories. Today Freud's legacy is in dispute, his commentators polarized into two camps: one of defenders; the other, fierce detractors.Peter D. Kramer, himself a practicing psychiatrist and a leading national authority on mental health, offers a new take on this controversial figure, one both critical and sympathetic. He recognizes that although much of Freud's thought is now archaic, the discipline he invented has become an inescapable part of our culture, transforming the way we see ourselves. Freud was a myth-maker, a storyteller, a writer whose books will survive among the classics of our literature. The result of Kramer's inquiry is nothing less than a new standard history of Freud by a modern master of his thought.

    Drawing on a rich range of sources, from inventories and guild regulations topoetry and chronicles, it examines everything from panel paintings to carved altarpieces.While many little-known works are foregrounded, Susie Nash also presents new ways of viewing and understanding the more familiar, such as the paintings of Jan van Eyck, Rogier van der Weyden, and Hans Memling, by considering the social and economic context of their creation and reception.Throughout, Nash challenges the perception that Italy was the European leader in artistic innovation at this time, demonstrating forcefully that Northern art, and particularly that of the Southern Netherlands, dominated visual culture throughout Europe in this crucial period.

    He hated to be bored and hated to be idle, and through his life he responded to these threats with a repertoire of antidotes mental and physical. Whether in his rabidly obscene mode or not, Mozart was always hilarious. He went at every piece of his life, and perhaps most notably his social life, with tremendous gusto. His circle of friends and patrons was wide, encompassing anyone who appealed to his boundless appetites for music and all things pleasurable and fun.Mozart was known to be an inexplicable force of nature who could rise from a luminous improvisation at the keyboard to a leap over the furniture. He was forever drumming on things, tapping his feet, jabbering away, but who could grasp your hand and look at you with a profound, searching, and melancholy look in his blue eyes. Even in company there was often an air about Mozart of being not quite there. It was as if he lived onstage and off simultaneously, a character in life’s tragicomedy but also outside of it watching, studying, gathering material for the fabric of his art.Like Jan Swafford’s biographies Beethoven and Johannes Brahms, Mozart is the complete exhumation of a genius in his life and ours: a man who would enrich the world with his talent for centuries to come and who would immeasurably shape classical music. As Swafford reveals, it’s nearly impossible to understand classical music’s origins and indeed its evolutions, as well as the Baroque period, without studying the man himself.

    He advised the legendary Pompey on his somewhat botched transition from military hero to politician. He lambasted Mark Antony and was master of the smear campaign, as feared for his wit as he was for exposing his opponents’ sexual peccadilloes. Brilliant, voluble, cranky, a genius of political manipulation but also a true patriot and idealist, Cicero was Rome’s most feared politician, one of the greatest lawyers and statesmen of all times. Machiavelli, Queen Elizabeth, John Adams and Winston Churchill all studied his example. No man has loomed larger in the political history of mankind.In this dynamic and engaging biography, Anthony Everitt plunges us into the fascinating, scandal-ridden world of ancient Rome in its most glorious heyday. Accessible to us through his legendary speeches but also through an unrivaled collection of unguarded letters to his close friend Atticus, Cicero comes to life in these pages as a witty and cunning political operator.Cicero leapt onto the public stage at twenty-six, came of age during Spartacus’ famous revolt of the gladiators and presided over Roman law and politics for almost half a century. He foiled the legendary Catiline conspiracy, advised Pompey, the victorious general who brought the Middle East under Roman rule, and fought to mobilize the Senate against Caesar. He witnessed the conquest of Gaul, the civil war that followed and Caesar’s dictatorship and assassination. Cicero was a legendary defender of freedom and a model, later, to French and American revolutionaries who saw themselves as following in his footsteps in their resistance to tyranny. Anthony Everitt’s biography paints a caustic picture of Roman politics—where Senators were endlessly filibustering legislation, walking out, rigging the calendar and exposing one another’s sexual escapades, real or imagined, to discredit their opponents. This was a time before slander and libel laws, and the stories—about dubious pardons, campaign finance scandals, widespread corruption, buying and rigging votes, wife-swapping, and so on—make the Lewinsky affair and the U.S. Congress seem chaste.Cicero was a wily political operator. As a lawyer, he knew no equal. Boastful, often incapable of making up his mind, emotional enough to wander through the woods weeping when his beloved daughter died in childbirth, he emerges in these pages as intensely human, yet he was also the most eloquent and astute witness to the last days of Republican Rome.On Cicero:“He taught us how to think."—Voltaire“I tasted the beauties of language, I breathed the spirit of freedom, and I imbibed from his precepts and examples the public and private sense of a man.” —Edward Gibbon“Who was Cicero: a great speaker or a demagogue?” —Fidel CastroFrom the Hardcover edition.

    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.

    . . have different rights, different values than do ordinary people because we have different needs which put us . . . above their moral standards.” —ModiglianiAmedeo (“Beloved of God”) Modigliani was considered to be the quintessential bohemian artist, his legend almost as infamous as Van Gogh’s. In Modigliani’s time, his work was seen as an oddity: contemporary with the Cubists but not part of their movement. His work was a link between such portraitists as Whistler, Sargent, and Toulouse-Lautrec and that of the Art Deco painters of the 1920s as well as the new approaches of Gauguin, Cézanne, and Picasso.Jean Cocteau called Modigliani “our aristocrat” and said, “There was something like a curse on this very noble boy. He was beautiful. Alcohol and misfortune took their toll on him.”In this major new biography, Meryle Secrest, one of our most admired biographers—whose work has been called “enthralling” (The Wall Street Journal); “rich in detail, scrupulously researched, and sympathetically written” (The New York Review of Books) —now gives us a fully realized portrait of one of the twentieth century’s master painters and sculptors: his upbringing, a Sephardic Jew from an impoverished but genteel Italian family; his going to Paris to make his fortune; his striking good looks (“How beautiful he was, my god how beautiful,” said one of his models) . . . his training as an artist . . .and his influences, including the Italian Renaissance, particularly the art of Botticelli; Nietzsche’s theories of the artist as Übermensch, divinely endowed, divinely inspired; the monochromatic backgrounds of Van Gogh and Cézanne; the work of the Romanian sculptor Brancusi; and the primitive sculptures of Africa and Oceania with their simplified, masklike triangular faces, elongated silhouettes, puckered lips, low foreheads, and heads on exaggeratedly long necks. We see the ways in which Modigliani’s long-kept-secret illness from tuberculosis (it almost killed him as a young man) affected his work and his attitude toward life ; how consumption caused him to embrace fatalism and idealism, creativity and death; and how he used alcohol and opium with laudanum as an antispasmodic to hide the symptoms of the disease and how, because of it, he came to be seen as a dissolute alcoholic.And throughout, we see the Paris that Modigliani lived in, a city in dynamic flux where art was still a noble cause; how Modigliani became part of a life in the streets and a world of art and artists then in a transforming revolution; Monet, Cézanne, Degas, Renoir, et al.—and others more radical—Matisse, Derain, etc., all living within blocks of one another.Secrest’s book, written with unprecedented access to letters, diaries, and photographs never before seen, is an extraordinary revelation of a life lived in art . . . Here is Modigliani, the man and the artist, seemingly shy, delicate, a man on a desperate mission, masquerading as an alcoholic, cheating death again and again, and calculating what he had to do in order to go on working and concealing his secret for however much time remained . . .

    Two years later, Ada Blackjack emerged as the sole survivor of this ambitious polar expedition. This young, unskilled woman--who had headed to the Arctic in search of money and a husband--conquered the seemingly unconquerable north and survived all alone after her male companions had perished. Following her triumphant return to civilization, the international press proclaimed her the female Robinson Crusoe. But whatever stories the press turned out came from the imaginations of reporters: Ada Blackjack refused to speak to anyone about her horrific two years in the Arctic. Only on one occasion--after charges were published falsely accusing her of causing the death of one her companions--did she speak up for herself. Jennifer Niven has created an absorbing, compelling history of this remarkable woman, taking full advantage of the wealth of first-hand resources about Ada that exist, including her never-before-seen diaries, the unpublished diaries from other primary characters, and interviews with Ada's surviving son. Ada Blackjack is more than a rugged tale of a woman battling the elements to survive in the frozen north--it is the story of a hero.

    In seven separate sketches, he presents his picture of a man whose life is the key to his creation.

    This book is an in-depth analysis of that dynamic community, focusing primarily on the years 1380-1450 in an examination of the city's physical character, its economic and social structure and developments, its political and religious life, and its cultural achievement. For this edition, Mr. Brucker has added Notes on Florentine Scholarship and a Bibliographical Supplement.