This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper. It includes 125 reproductions of Avedon's greatest work from the entire range of his oeuvre--including fashion photographs, reportage and portraits--and spans from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star Bjork. It also features a small number of color images, including what must be one of the most famous photographic portraits of the twentieth century, -Nastassja Kinski and the Serpent- (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer a sophisticated and thorough composite view of Avedon's career.

    In this vividly written biography, William E. Wallace offers a substantially new view of the artist. Not only a supremely gifted sculptor, painter, architect, and poet, Michelangelo was also an aristocrat who firmly believed in the ancient and noble origins of his family. The belief in his patrician status fueled his lifelong ambition to improve his family's financial situation and to raise the social standing of artists. Michelangelo's ambitions are evident in his writing, dress, and comportment, as well as in his ability to befriend, influence, and occasionally say "no" to popes, kings, and princes. Written from the words of Michelangelo and his contemporaries, this biography not only tells his own stories but also brings to life the culture and society of Renaissance Florence and Rome. Not since Irving Stone's novel The Agony and the Ecstasy has there been such a compelling and human portrayal of this remarkable yet credible human individual.Subscribe to William Wallace's podcast on individual works of the master! Click here!Episodes every week, right from this bookmark or your feed reader.

    Like a bizarro-world Norman Rockwell, he created magazine covers of Frankenstein, the Creature from the Black Lagoon. the Phantom of the Opera, and countless others in horrifying yet dazzling images throughout the 1960s and '70s. His intense colour and bold, impressionistic brushwork gave a unique sense of drama and sophistication to these iconic characters. Today, collectors fight over his original art--but, with this book, every fan can own glowing full-colour reproductions of his most famous work as well as many previously unpublished paintings and drawings.

    Told through the eyes of a young girl, the book shares Gerda’s memories of Hitler’s rise to power and passionately describes the cruel toll that history can have on those who experience it. The book is much more than Gerda’s story. Through letters she received from her parents, who made the heartbreaking decision to send their two daughters to live with foster families in the relative safety of Holland, we learn how a mother and father try to raise a child from far away in times of great distress. Letters from them to Gerda’s foster parents, and desperate notes to an American family they hoped would act as sponsors, reveal their growing despair. The story is both deeply personal and universal as people wrestle with terrible choices to save their children and protect their families. These issues remain as relevant today as they were during the Holocaust. In 1939, while trying to arrange an escape from Germany, her parents sent 12-year-old Gerda and her younger sister to live with separate families in Holland, which was still safe for Jews. What was intended as a temporary move became permanent and Gerda never saw her parents again. Ultimately, she was the only member of her immediate family to survive and also had to bear the loss of the foster family she had come to love as her own. Gerda describes in searing detail her experiences in six concentration camps, her protection as a worker for the Philips Corporation, and her arrival in the U.S. in 1948 as an 18-year-old Holocaust survivor literally alone in the world. The memoir is a testament to the loving family Gerda built in America. Her husband added translations of the letters from her parents, grandparents and sister. After her oldest child and first grandchild were born, Gerda added notes to them. This group effort illustrates the special generational pull of trauma endured by Holocaust survivors.

    The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary--one who was equally ambitious but possessed sharply contrasting strengths and weaknesses.Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock's uninhibited style of "action painting" triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock's sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend's mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain's most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen.Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one's own as an artist--finding one's voice--almost always involves willfully breaking away from some intimate's expectations of who you are or ought to be.Praise for The Art of Rivalry"Gripping . . . Mr. Smee's skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas."--The New York Times"With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority."--The Boston Globe"Bacon liked to say his portraiture aimed to capture 'the pulsations of a person.' Revealing these rare creators as the invaluable catalysts they also were, Smee conveys exactly that on page after page. . . . His brilliant group biography is one of a kind." --The Atlantic "Perceptive . . . Smee is onto something important. His book may bring us as close as we'll ever get to understanding the connections between these bristly bonds and brilliance."--The Christian Science Monitor"In this intriguing work of art history and psychology, The Boston Globe's art critic looks at the competitive friendships of Matisse and Picasso, Manet and Degas, Pollock and de Kooning, and Freud and Bacon. All four relationships illuminate the creative process--both its imaginative breakthroughs and its frustrating blocks."--Newsday

    The son of legendary Irish and World Champion Stephen Roche, Nicolas had to fight to make it as a professional and even harder to make his mark as his own man on this toughest of competitive sports. His rise up the ranks has been meteoric, with top 15 finishes in both the Tour de France and the Vuelta a España in 2010, but his attitude to his chosen profession has remained undimmed. Honest, eloquent and passionate about how the cycling world should be, Nicolas has gained acclaim and a devoted fan following for his Tour diaries serialised in the Irish Independent. Now a major contender for a podium finish in a grand tour, Nicolas is ready to expand on those diaries and to tell in full the story of life in the peloton and of the remarkable events that have brought him this far. From furious spats with teammates and exhilarating races against the world's best, this is a gripping cycling adventure and sportsman's tale.

    With influences ranging from hip hop to zombie slasher movies, Hewlett emerged in the mid 1990s as cocreator of the zeitgeist-defining Tank Girl comic. With then-roommate, Blur frontman Damon Albarn, he went on to create the unique cartoon band Gorillaz, a virtual pop group of animated characters, which recorded four studio albums and mounted breathtaking live spectacles. Since then, Hewlett has continued to collaborate with Albarn on projects including an elaborate staging of the Chinese novel Monkey: Journey to the West by Wu Cheng en, complete with circus acrobats, Shaolin monks, and Chinese singers. In 2006, he was named Designer of the Year by the Design Museum in London, and in 2009, Hewlett and Albarn won a Bafta for their Monkey animated sequence for the Beijing Olympic Games. More recently, an exhibition of prints at the Saatchi Gallery in London demonstrated an exciting new direction in Hewlett s practice. This new TASCHEN edition, Hewlett s first major monograph, illustrates this thrilling creative journey with over 400 artworks from the Tank Girl era through Gorillaz and up to the present day. Through stories, characters, strips, and sketches, we trace Hewlett s exceptional capacity for invention and celebrate a polymath artist who refuses to rest on his laurels, or to be pigeonholed into a particular practice.Text in English, French, and German"

    The Devil and Dr. Barnes traces the near-mythical journey of a man who was born into poverty, amassed a fortune through the promotion of a popular medicine, and acquired the premier private collection of works by such masters as Renoir, Matisse, Cézanne, and Picasso. Ostentatiously turning his back on the art establishment, Barnes challenged the aesthetic sensibilities of an uninitiated, often resistant and scoffing, American audience. In particular, he championed Matisse, Soutine, and Modigliani when they were obscure or in difficult straits. Analyzing what he saw as the formal relationships underlying all art, linking the old and the new, Barnes applied these principles in a rigorous course of study offered at his Merion foundation. Barnes's own mordant words, culled from the copious printed record, animate the narrative throughout, as do accounts of his associations with notables of the era--Gertrude and Leo Stein, Bertrand Russell, and John Dewey among them--many of whom he alienated with his appetite for passionate, public feuds. In this rounded portrait, Albert Barnes emerges as a complex, flawed man, who--blessed with an astute eye for greatness--has left us an incomparable treasure, gathered in one place and unforgettable to all who have seen it.

    His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.

    The public not only found Laurel's serene simpleton and Hardy's pompous buffoon hilarious, but they also thought of them as friends. Laurel and Hardy may have been nitwits, but they were loveable nitwits.Another Nice Mess: The Laurel and Hardy Story explores the lives and careers of Laurel and Hardy. The book examines how the comedians teamed up and it explains why, nearly half a century after their deaths, their films continue to enchant people all over the world.Raymond Valinoti, Jr.. is a resident of Berkeley Heights, NJ. He has a Master's in Library Science from Rutgers University and is a freelance researcher. His articles on film have been published in the magazines Midnight Marquee and Films of the Golden Age. He also writes film reviews for an online news publication, The Alternative Press.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    Even his contemporaries found the Dutch painter’s work difficult to decipher—and it still presents riddles to contemporary art historians. Part of the problem in analyzing his shocking and richly allegorical paintings is that virtually nothing is known of the artist himself, apart from his birthplace. There is no record of his life or training, no personal letters, diaries or notebooks, and no contemporary insights into his personality or his thoughts on the meaning of his art. Even his date of birth can only be guessed at, and that based on a drawing assumed to be a self-portrait, made shortly before his death in 1516, which supposedly shows the artist in his late sixties. Bosch remains as mysterious as the worlds he painted. Although rooted in the Old Dutch tradition, Bosch developed a highly subjective, richly suggestive formal language. With a mixture of religious humility and satanic wit, he illustrated both the joys of heaven and the cruelly imaginative tortures of hell. In his pictorial world teeming with surrealistic nightmares, the medieval imagination catches fire in a moment of final brilliance before succumbing to humanism and modern rationalism. Though the man himself remains a mystery, this book pulls together the elusive threads of Bosch’s work into a cohesive and comprehensive analysis of his work and methods.

    Caravaggio defied the aesthetic conventions of his time; his use of ordinary people, realistically portrayed—street boys, prostitutes, the poor, the aged—was a profound and revolutionary innovation that left its mark on generations of artists. His insistence on painting from nature, on rendering the emotional truth of experience, whether religious or secular, made him an artist who speaks across the centuries to modern day.Called “racy, intensely imagined, and highly readable” by the New York Times Book Review, Caravaggio includes eight pages of color illustrations, and is sure to appeal to art enthusiasts interested in one of history’s true innovators. Caravaggio is part of the “Eminent Lives” series from HarperCollins, a selection of biographies by distinguished authors on canonical figures.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    The first Indian Army officer to be promoted to the five-star rank of Field Marshal, Sam Bahadur continues to be the most admired of our Army Chiefs.