Yet behind this triumph lay struggle, heartbreak, bitterness, frustration, lost love, exile—and above all the miracle of survival.Born into near poverty in Russia in 1887, the son of a Jewish herring merchant, Chagall fled the repressive “potato-colored” tsarist empire in 1911 for Paris. There he worked alongside Modigliani and Léger in the tumbledown tenement called La Ruche, where “one either died or came out famous.” But turmoil lay ahead—war and revolution; a period as an improbable artistic commissar in the young Soviet Union; a difficult existence in Weimar Germany, occupied France, and eventually the United States. Throughout, as Jackie Wullschlager makes plain in this groundbreaking biography, he never ceased giving form on canvas to his dreams, longings, and memories. His subject, more often than not, was the shtetl life of his childhood, the wooden huts and synagogues, the goatherds, rabbis, and violinists—the whole lost world of Eastern European Jewry. Wullschlager brilliantly describes this world and evokes the characters who peopled it: Chagall’s passionate, energetic mother, Feiga-Ita; his eccentric fellow painter and teacher Bakst; his clever, intense first wife, Bella; their glamorous daughter, Ida; his tough-minded final companion and wife, Vava; and the colorful, tragic array of artist, actor, and writer friends who perished under the Stalinist regime.Wullschlager explores in detail Chagall’s complex relationship with Russia and makes clear the Russian dimension he brought to Western modernism. She shows how, as André Breton put it, “under his sole impulse, metaphor made its triumphal entry into modern painting,” and helped shape the new surrealist movement. As art critic of the Financial Times, she provides a breadth of knowledge on Chagall’s work, and at the same time as an experienced biographer she brings Chagall the man fully to life—ambitious, charming, suspicious, funny, contradictory, dependent, but above all obsessively determined to produce art of singular beauty and emotional depth.Drawing upon hitherto unseen archival material, including numerous letters from the family collection in Paris, and illustrated with nearly two hundred paintings, drawings, and photographs, Chagall is a landmark biography to rank with Hilary Spurling’s Matisse and John Richardson’s Picasso.

    And what a fascinating story they tell together: one that brims with an all-star cast of characters, eye-opening details, and unexpected detours through the annals of human civilization and scientific discovery.   Enter critically acclaimed writer and popular journalist Victoria Finlay, who here takes readers across the globe and over the centuries on an unforgettable tour through the brilliant history of color in art. Written for newcomers to the subject and aspiring young artists alike, Finlay’s quest to uncover the origins and science of color will beguile readers of all ages with its warm and conversational style. Her rich narrative is illustrated in full color throughout with 166 major works of art—most from the collections of the J. Paul Getty Museum.   Readers of this book will revel in a treasure trove of fun-filled facts and anecdotes. Were it not for Cleopatra, for instance, purple might not have become the royal color of the Western world. Without Napoleon, the black graphite pencil might never have found its way into the hands of Cézanne. Without mango-eating cows, the sunsets of Turner might have lost their shimmering glow. And were it not for the pigment cobalt blue, the halls of museums worldwide might still be filled with forged Vermeers.   Red ocher, green earth, Indian yellow, lead white—no pigment from the artist’s broad and diverse palette escapes Finlay’s shrewd eye in this breathtaking exploration.

    It also relates the extraordinary history of the museum's collection, a collection that has enabled the Van Gogh Museum to evolve into a world-renowned centre of knowledge about Van Gogh's work and the art of his time.

    Wassily Kandisnsky’s Sounds (Klänge), a volume of poems written and illustrated by the Russian artist and pioneer of abstract painting, was originally published in a limited edition in Munich in 1912.  Although it was highly regarded by such artists as Hugo Ball and Jean Arp and acclaimed by the Zurich Dadaists, it remains one of the least known of Kandinsky’s major writings.  This is the first complete English translation of Kandinsky’s text.  Sounds is one of the earliest, most beautiful examples of a twentieth-century livre d’artiste and a rare instance of a book in which text and illustrations are the work of a single artist.  The poems, alternately narrative and expressive in quality, are witty, simple in structure and vocabulary, and often startling in content.  They repeatedly treat questions of space, color, physical design, and the act of seeing in a world that offers multiple and often contradictory possibilities to the viewer.  The woodcuts range from early Jugendstil-inspired, representational designs to vignettes that are purely abstract in form.  Published in the same year as his Concerning the Spiritual in Art, Sounds sheds a different but equally significant light on Kandinsky’s movement toward abstraction—a movement that was to exercise a profound influence on future directions in art.  In addition to the 38 poems and 56 woodcuts, which are arranged as in the original edition, the volume includes an introduction, the German text of the poems, and the artist’s chronology.

    Sean Shesgreen, a foremost authority on Hogarth, has consistently selected the best states of the plates to be used in this edition and has carefully introduced them, commenting upon the artist's milieu and the importance of plot, character, time, setting, and other dimensions. A most important aspect of this book, found in no other Hogarth edition, is the positioning of the editor's commentary on each plate on a facing page. With the incredible and sometimes overwhelming amount of detail and action going on in these engravings, this is a most helpful feature.

    Army. He did so at a time when the country was pro-Vietnam and serving seemed an honorable thing to do. Little did he know that the tide would turn a mere six months later as drastically as it did. VIETNAM: THERE AND BACK is a candid account of the time when he and several other combat vets found themselves conducting operations in the jungles of Vietnam during and after the Tet Offensive. Purtell describes in gritty detail what it was like to live and fight with an infantry company only to return to anti-Vietnam sentiment so strong that he and his fellow veterans felt nobody cared about them or the sacrifices they made.

    Viewed by critics, artists, art historians, and students as the essential text on how prehistoric images have been “overlayed” onto contemporary art by today’s artists, Overlay is for anyone interested in the possibility of reintegrating art into the fabric of society as a whole, as in prehistoric times.From megalithic monuments such as Stonehenge to Richard Long’s minimalism, from the earliest examples of cave drawings to Ana Mendieta’s Cuban site art, from the matriarchal fertility rituals of the ancient Celts to Judy Chicago’s Dinner Party, Lippard shows a continuum in the forms, materials, symbols, and imagery that artists have employed for thousands of years.Lavishly illustrated with over 320 black-and-white photographs and 8 pages of color images, Overlay includes the work of artists Carl Andre, Louise Bourgeois, Robert Smithson, Robert Morris, Charles Simonds, Mary Beth Edelson, Anna Sofaer, Michelle Stuart, Sol LeWitt, Ad Reinhardt, Alice Aycock, Nancy Holt, Emily Carr, Dennis Oppenheim, and many others.

    Blessed with an unerring eye, he tackles a myriad of subjects with wit, poetry, and perspicacity, examining and questioning the art before him while reveling in the power and beauty of language. His writing springs from a desire to be understood by all readers, and a determination to help them engage with art of every kind.Covering subjects drawn from a broad canvas of the history of art—from ancient Greece, Mexico, and Byzantium, through Raphael, Rubens, and Rembrandt, to Bruce Nauman, Jean-Michel Basquiat, and John Currin—the writings collected here seek out with precision and economy the essence of the individual artist or work under discussion, but they never lose sight of the bigger picture: What is beauty? What does it mean to be an American artist? What can the art we produce and admire tell us about ourselves?With an imaginative introduction—twenty questions, each one posed to Schjeldahl by a different artist or writer—this collection will appeal to anyone who considers the experience of art, and of writing on art, an invitation to a voyage.Coverage includes:     • large-scale exhibitions at leading institutions around the world     • shows at private galleries     • profiles of prominent members of the art world     • personal accounts of time spent with artists     • the influences of museum spaces on our experience of art

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    Found everywhere from wine labels and high-end bar accessories to major motion pictures (Teacher's Pet, the upcoming Pink Panther), the visibility of this dynamic work has rapidly increased in the last few years to worldwide recognition and acclaim. Weirdo Deluxe is the first significant manifesto of the genrea riotous blend of pop culture, street culture, pop art, and surrealismand includes profiles of and interviews with 23 leading artists and hundreds of outrageous examples of their work. Special features include an expansive timeline, and peeks at the artists' collections and influences. Weirdo Deluxe is at once a primer and lowbrow art sourcebook as well as a visual homage to pop culture.

    As she delved deeper into their engrossing lives, questions emerged. What was the deep secret May had confided to Edward? And what was the tragic truth behind Amy’s wayward, wandering life, her strange marriage, and her unexplained early death?Weaving together the threads of this tale, Dimbleby takes us through a turbulent period in English history and visits the most far-flung corners of the Empire. William Morris, Rudyard Kipling, William Gladstone, and prominent members of the Souls also play a part in this sweeping, often funny, and sometimes tragic story. Richly detailed and exquisitely told, May and Amy is a stunning account of hidden love and family secrets.

    He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in "Art and Illusion," another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death. With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works.

    . . . [and] the iconoclastic charm of the artist keeps the pages turning ." -The Washington Post "A definitive life of Francis Bacon. . . . Stevens and Swan are vivid scene setters. . . . Francis Bacon does justice to the contradictions of both the man and the art." -The Boston Globe A decade in the making: the first comprehensive look at the life and art of Francis Bacon, one of the iconic painters of the twentieth century--from the Pulitzer Prize-winning authors of de Kooning: An American Master. Francis Bacon created an indelible image of mankind in modern times, and played an outsized role in both twentieth century art and life--from his public emergence with his legendary Triptych 1944 (its images so unrelievedly awful that people fled the gallery), to his death in Madrid in 1992.Bacon was a witty free spirit and unabashed homosexual at a time when many others remained closeted, and his exploits were as unforgettable as his images. He moved among the worlds of London's Soho and East End, the literary salons of London and Paris, and the homosexual life of Tangier. Through hundreds of interviews, and extensive new research, the authors probe Bacon's childhood in Ireland (he earned his father's lasting disdain because his asthma prevented him from hunting); his increasingly open homosexuality; his early design career--never before explored in detail; the formation of his vision; his early failure as an artist; his uneasy relationship with American abstract art; and his improbable late emergence onto the international stage as one of the great visionaries of the twentieth century. In all, Francis Bacon: Revelations gives us a more complete and nuanced--and more international--portrait than ever before of this singularly private, darkly funny, eruptive man and his equally eruptive, extraordinary art. Bacon was not just an influential artist, he helped remake the twentieth-century figure.

    While many of these are among his most famous, others may be less well known, but they are all essential to the development of Dalis artistic philosophy.

    Through the lens of esteemed writers and critics such as Carlo McCormick, Steven Heller and Roger Gastman, Fairey's work is seen for all its depth and placed in context as art, design, social experiment and "getting over". This massive book pulls no punches and all areas of the enigmatic artist's work, travels and travails are illuminated; from exhibitions, posters, flyers, silkscreens and stickers to high altitude pursuits, citations and police beatings, it's all documented in a museum quality layout and binding. The evidence is in, and it's clear that Shepard Fairey is not one to rest on his laurels, the work must go on. For both long time fans wanting the complete collection and those just curious to know what this OBEY business is all about Supply and Demand is the answer.