The quick brushstrokes of the Impressionists suited his temperament, as did his heavy use of impasto. This helpful volume shows many of van Gogh's best loved works, including the famous self-portrait with a Bandaged Ear, painted after he had cut off part of his ear in a fit of madness, Sunflowers, which were to him a symbol of power and beneficence, and The Starry Night, a painting which clearly expresses intensity and mental turbulence.

    and Doonesbury. Old favourites Katzenjammer Kids, Mutt and Jeff, Gasoline Alley, Bringing up Father, Mickey Mouse, Little Orphan Annie, Dick Tracy, L'il Abner, Barnaby, Pogo and many more fill this collection of American comic classics.

    She tells us how great painters fool the brain: why Mona Lisa's smile seems so mysterious, Monet's Poppy Field appears to sway in the breeze, Mondrian's Broadway Boogie Woogie blinks like the lights of Times Square, and Warhol's Electric Chair pulses with current.Drawing on history and her own cutting-edge discoveries, Livingstone offers intriguing insights, from explanations of common optical illusions to speculations on the correlation of learning disabilities with artistic skill. Her lucid, accessible theories are illustrated throughout with fine art and clear diagrams.In his foreword, Nobel Prize-winner Hubel posits that neurobiology will enhance the art of the future just as anatomy did in centuries past. That future begins with this fascinating book.

    Human tastes in the arts, Dutton argues, are evolutionary traits, shaped by Darwinian selection. They are not, as the past century of art criticism and academic theory would have it, just "socially constructed."Our love of beauty is inborn, and many aesthetic tastes are shared across remote cultures—just one example is the widespread preference for landscapes with water and distant trees, like the savannas where we evolved. Using forceful logic and hard evidence, Dutton shows that we must premise art criticism on an understanding of evolution, not on abstract "theory." He restores the place of beauty, pleasure, and skill as artistic values.Sure to provoke discussion in scientific circles and uproar in the art world, The Art Instinct offers radical new insights into both the nature of art and the workings of the human mind.

    Tolkien.When J.R.R. Tolkien wrote The Hobbit, he was already an accomplished amateur artist, and drew illustrations for his book while it was still in manuscript. The Hobbit as first printed had ten black and white pictures, two maps, and binding and dust-jacket designs by its author. Later, Tolkien also painted five scenes for colour plates which are some of his best work. His illustrations for The Hobbit add an extra dimension to that remarkable book, and have long influenced how readers imagine Bilbo Baggins and his world.To celebrate the 75th anniversary of the publication of The Hobbit, the complete artwork created by the author for his story has been collected in The Art of The Hobbit by J.R.R. Tolkien. Including related pictures, more than one hundred sketches, drawings, paintings, maps, and plans are presented here, preliminary and alternate versions and experimental designs as well as finished art. Some of these images are now published for the first time, and others for the first time in colour. Fresh digital scans from the Bodleian Libraries in Oxford and Marquette University in Wisconsin allow Tolkien’s Hobbit pictures to be seen more vividly than ever before.The Art of The Hobbit by J.R.R. Tolkien has been written and edited by Wayne G. Hammond and Christina Scull, two of the leading experts on Tolkien and authors of the acclaimed J.R.R. Tolkien: Artist and Illustrator, The Lord of the Rings: A Reader’s Companion, and The J.R.R. Tolkien Companion and Guide.

    Seuss was drawing biting cartoons for adults that expressed his fierce opposition to anti-Semitism and fascism. An editorial cartoonist from 1941 to 1943 for PM magazine, a left-wing daily New York newspaper, Dr. Seuss launched a battle against dictatorial rule abroad and America First (an isolationist organization that argued against U.S. entry into World War II) with more than 400 cartoons urging the United States to fight against Adolf Hitler and his cohorts in fascism, Benito Mussolini, Pierre Laval, and Japan (he never depicted General Tojo Hideki, the wartime prime minister, or Togo Shigenori, the foreign minister). Dr. Seuss Goes to War, by Richard H. Minear, includes 200 of these cartoons, demonstrating the active role Dr. Seuss played in shaping and reflecting how America responded to World War II as events unfolded.As one of America's leading historians of Japan during World War II, Minear also offers insightful commentary on the historical and political significance of this immense body of work that, until now, has not been seriously considered as part of Dr. Seuss's extraordinary legacy.Born to a German-American family in Springfield, Massachusetts, in 1904, Theodor Geisel began his cartooning career at Dartmouth College, where he contributed to the humor magazine. After a run-in with college authorities for bootlegging liquor, he had to use a pseudonym to get his work published, choosing his middle name, Seuss, and adding "Dr." several years later when he dropped out of graduate school at Oxford University in England. He had never planned on setting poison political pen to paper until he realized his deep hatred of Italian fascism. The first editorial cartoon he drew depicts the editor of the fascist paper Il Giornale d'Italia wearing a fez (part of Italy's fascist uniform) and banging away at a giant steam typewriter while a winged Mussolini holds up the free end of the banner of paper emerging from the roll. He submitted it to a friend at PM, an outspoken political magazine that was "against people who push other people around," and began his two-year career with the magazine before joining the U.S. Army as a documentary filmmaker in 1943.Dr. Seuss's first caricature of Hitler appears in the May 1941 cartoon, "The head eats, the rest gets milked," portraying the dictator as the proprietor of "Consolidated World Dairy," merging 11 conquered nations into one cow. Hitler went on to become one of the main caricatures in Seuss's work for the next two years, depicted alone, among his generals and other Germans, and with his allies Benito Mussolini and Pierre Laval. He is also drawn alongside "Japan," which Dr. Seuss portrays quite offensively, with slanted, bespectacled eyes and a sneering grin. While Dr. Seuss was outspoken against antiblack racism in the United States, he held a virulent disdain for the Japanese and rendered sinister and, at times, slanderous caricatures of their wartime actions even before the bombing of Pearl Harbor. But Dr. Seuss's aggression wasn't solely reserved for the fascists abroad. He was also loudly critical of America's initial apathy toward the war, skewering isolationists like America First advocate Charles Lindbergh, the Chicago Tribune's Colonel Robert McCormick, Eleanor Medill Patterson of the Washington Times-Herald, and Joseph Patterson of the New York Daily News, whom he considered as evil as Hitler. He encouraged Americans to buy war savings bonds and stamps and to do everything they could to ensure victory over fascism.Minear provides historical background in Dr. Seuss Goes to War that not only serves to contextualize these cartoons but also deftly explains the highly problematic anti-Japanese and anticommunist stances held by both Dr. Seuss and PM magazine, which contradicted the leftist sentiments to which they both eagerly adhered. As Minear notes, Dr. Seuss eventually softened his feelings toward communism as Russia and the United States were united on the Allied front, but his stereotypical portrayals of Japanese and Japanese-Americans grew increasingly and undeniably racist as the war raged on, reflecting the troubling public opinion of American citizens. Minear does not attempt to ignore or redeem Dr. Seuss's hypocrisy; rather, he shows how these cartoons evoke the mood and the issues of the era. After Dr. Seuss left PM magazine, he never drew another editorial cartoon, though we find in these cartoons the genesis of his later characters Yertle the dictating turtle and the Cat in the Hat, who bears a striking resemblance to Uncle Sam. Dr. Seuss Goes to War is an astonishing collection of work that many of his devoted fans have not been able to see until now. But this book is also a comprehensive, thoughtfully researched, and exciting history lesson of the Second World War, by a writer who loves Dr. Seuss as much as those who grow up with his books do.

    Art For Dummies is the book that will have you and everyone you know clamoring outside the doors of your local museum. Thomas Hoving, former director of New York's Metropolitan Museum of Art, is credited with revolutionizing the Met, doubling its size during his tenure, and bringing art to the masses. Let him bring art to you as well. In Art For Dummies, Thomas Hoving provides a how-to guide to the art world. First, he guides you through an introduction to art appreciation, pointing out the details that you've always noticed but have never been able to explain. Next, Hoving takes you on a ride through art history. (Have you ever regretted not taking those art history classes in school With Art For Dummies, you'll feel all caught up and ready to spar with the local intellectuals.) Hoving even includes a guide to the world's top art cities and centers, a listing that can help you prepare for your next artistic voyage. With this guide, you can discover where to go in order to see the greatest works of art, and you can also find out about hidden treasures in nearby art museums.You also get a great start for seeking out art with Hoving's lists of the greatest works of Western civilization, the most interesting artists, and the contemporary artists to watch. Don't wait another day to introduce yourself to the art world!

    

    She puts the English national character under her anthropological microscope, and finds a strange and fascinating culture, governed by complex sets of unspoken rules and byzantine codes of behaviour. The rules of weather-speak. The ironic-gnome rule. The reflex apology rule. The paranoid-pantomime rule. Class indicators and class anxiety tests. The money-talk taboo and many more ...Through a mixture of anthropological analysis and her own unorthodox experiments (using herself as a reluctant guinea-pig), Kate Fox discovers what these unwritten behaviour codes tell us about Englishness.

    It is a delight and a solace, a challenge and a reward, and perhaps even an obsession. For two centuries Austen has enthralled readers. Few other authors can claim as many fans or as much devotion. So why are we so fascinated with her novels? What is it about her prose that has made Jane Austen so universally beloved?In essays culled from the last one hundred years of criticism juxtaposed with new pieces by some of today’s most popular novelists and essayists, Jane Austen’s writing is examined and discussed, from her witty dialogue to the arc and sweep of her story lines. Great authors and literary critics of the past offer insights into the timelessness of her moral truths while highlighting the unique confines of the society in which she composed her novels. Virginia Woolf examines Austen’s maturation as an artist and speculates on how her writing would have changed if she’d lived twenty more years, while C. S. Lewis celebrates Austen’s mirthful, ironic take on traditional values.Modern voices celebrate Austen’s amazing legacy with an equal amount of eloquence and enthusiasm. Fay Weldon reads Mansfield Park as an interpretation of Austen’s own struggle to be as “good” as Fanny Price. Anna Quindlen examines the enduring issues of social pressure and gender politics that make Pride and Prejudice as vital today as ever. Alain de Botton praises Mansfield Park for the way it turns Austen’s societal hierarchy on its head. Amy Bloom finds parallels between the world of Persuasion and Austen’s own life. And Amy Heckerling reveals how she transformed the characters of Emma into denizens of 1990s Beverly Hills for her comedy Clueless. From Harold Bloom to Martin Amis, Somerset Maugham to Jay McInerney, Eudora Welty to Margot Livesey, each writer here reflects on Austen’s place in both the literary canon and our cultural imagination.We read, and then reread, our favorite Austen novels to connect with both her world and our own. Because, as A Truth Universally Acknowledged so eloquently demonstrates, the only thing better than reading a Jane Austen novel is finding in our own lives her humor, emotion, and love.

    In a way, you already know them. Only you don’t – not really. In a sense, they are you. Only they’re not entirely. They inform and shape the most important decisions in your life. But you’re almost certainly unaware of their intervention. They are the Ten Types of Human. Who are they? What are they for? How did they get into your head? We want to believe that there are some things we would never do. We want to believe that there are others we always would. But how can we be sure? What are our limits? Do we have limits?The answer lies with the Ten Types of Human: the people we become when we are faced with life's most difficult decisions. But who or what are these Types? Where do they come from? How did they get into our heads?The Ten Types of Human is a pioneering examination of human nature. It looks at the best and worst that human beings are capable of, and asks why. It explores the frontiers of the human experience, excavating the forces that shape our thoughts and actions in extreme situations. It begins in a courtroom and journeys across four continents and through the lives of some exceptional people, in search of answers.Mixing cutting-edge neuroscience, social psychology and visceral true stories, The Ten Types of Human is at once a provocation and a roadmap of the hidden parts of us. It is a book to inspire; to refashion our understanding of our many selves and semblances; and ultimately to find fresh ways to be free.

    Compiled by Frank Warren, postsecret.com founder and author of the national bestseller Postsecret, the handmade cards bear compelling and personal messages that have remained secret--until now. Raw and revealing, My Secret expresses the hopes, fears, and wildest confession of young people everywhere.

    Has the 21st century resolved the question of postmodernism or are we more than ever ensnared in its perplexities? Postmodernism seemed to promise an end to the grim Cold War era of nuclear confrontation and oppressive ideologies. Fukuyama's notoriously proclaimed end of history, the triumph of liberal democracy over Communist tyranny, has proved an illusion. We awoke in the anxious grip of globalization, unpredictable terrorism and unforeseen war. Introducing Postmodernism traces the pedigrees of postmodernism in art, theory, science and history, providing an urgent guide to the present. Derrida, Baudrillard, Foucault and many other icons of postmodern complexity are brilliantly elucidated by Richard Appignanesi and enlivened by the Guardian's Biff cartoonist Chris Garratt.

    At times a painter, sculptor, inventor, draftsman, and anatomist, Leonardo's life cannot easily be summarized. And yet, Nicholl skillfully traces the artist's early days as an illegitimate child in Tuscany; his apprenticeship with Verrocchio in Florence; his service with some of the most powerful Renaissance families; his relationships with Michelangelo and Machiavelli; and his final days at the French royal court. In addition, Nicholl looks beyond the well-known stories of Leonardo's famous masterpieces, and gives us a glimpse into the artist's everyday life. We learn of Leonardo's penchant for jokes, his fascination with flight, his obsessive note making, and even what he ate. Nicholl weaves these details together in a fascinating portrait that goes far towards revealing the enigmatic figure who continues to fascinate present-day readers.

    A thought-provoking examination of the nature of visual representation, it remains ever-relevant to all the visual arts.A well-known painter and printmaker, Dow taught for many years at Columbia University and acted as a mentor to countless young artists, including Georgia O'Keeffe. His text, presented in a workbook format, offers teachers and students a systematic approach to composition. It explores the creation of freely constructed images based on harmonic relations between lines, colors, and dark and light patterns. The author draws upon the traditions of Japanese art to discuss a theory of "flat" formal equilibrium as an essential component of pictorial creation. Practical and well-illustrated, this classic guide offers valuable insights into modern design.