With hints of madness and mystery, moral license and visionary force, the word suggests an almost otherworldly power: the power to create, to divine the secrets of the universe, even to destroy. Yet the notion of genius has been diluted in recent times. Today, rock stars, football coaches, and entrepreneurs are labeled ‘geniuses,’ and the word is applied so widely that it has obscured the sense of special election and superhuman authority that long accompanied it.As acclaimed historian Darrin M. McMahon explains, the concept of genius has roots in antiquity, when men of prodigious insight were thought to possess—or to be possessed by—demons and gods. Adapted in the centuries that followed and applied to a variety of religious figures, including prophets, apostles, sorcerers, and saints, abiding notions of transcendent human power were invoked at the time of the Renaissance to explain the miraculous creativity of men like Leonardo and Michelangelo.Yet it was only in the eighteenth century that the genius was truly born, idolized as a new model of the highest human type. Assuming prominence in figures as varied as Newton and Napoleon, the modern genius emerged in tension with a growing belief in human equality. Contesting the notion that all are created equal, geniuses served to dramatize the exception of extraordinary individuals not governed by ordinary laws. The phenomenon of genius drew scientific scrutiny and extensive public commentary into the 20th century, but it also drew religious and political longings that could be abused. In the genius cult of the Nazis and the outpouring of reverence for the redemptive figure of Einstein, genius achieved both its apotheosis and its Armageddon.The first comprehensive history of this elusive concept, Divine Fury follows the fortunes of genius and geniuses through the ages down to the present day, showing how—despite its many permutations and recent democratization—genius remains a potent force in our lives, reflecting modern needs, hopes, and fears.

    The quirks are what show the maker’s intimate involvement in the process, and it’s that unique quality that first attracted textile designer and illustrator Lena Corwin to hand-printing. Even though decorative prints are more in vogue than ever, there was until now no up-to-date hand-printing guide—no single source explaining the tools and materials that are used today, or reflecting a contemporary aesthetic. Corwin has given us that guide. Using step-by-step instructions and up-close photos, Corwin teaches crafters everything they need to know to master stamping, stenciling, and screen printing, from making their own printing devices to trouble-shooting when plans go awry. Her inimitable collection of projects ranges from stamped stationery and simple-to-sew pouches, to stenciled tote bags and furniture, to screen-printed bed linens and upholstery fabric. There’s even a silk-screened dog bed. The author has created original artwork for each project (full-size patterns are included in an envelope at the back of the book), so that every crafter can achieve the same beautiful results. Or maybe not quite the same. Remember: It’s the subtle differences that make hand-printing so special and alluring.

    It seems so basic. Why is it so hard to actually get right? According to innovation expert Phil McKinney, the real problem is that we're teaching people to ask the wrong questions about their businesses--or none at all. There has to be a better way. In Beyond the Obvious, McKinney will help you use his proven FIRE (Focus, Ideation, Rank, Execution) Method to dig deeper and get back to asking the right questions--the ones all companies must ask to survive. Full of real-world examples, this book will change the way you operate, innovate, and create, and it all begins with battle-tested questions Phil has gathered on note cards throughout his career. Shared for the first time here, these "Killer Questions" include:What are the rules and assumptions my industry operates under? What if the opposite were true?What will be the buying criteria used by my customer in 5 years?What are my unshakable beliefs about what my customers want?Who uses my product in ways I never anticipated? These questions will reframe the way you see your products, your customers, and the way the two interact. Whether you're a company of thousands or a lean startup, Beyond the Obvious will give you the skills and easy-to-follow plan you need to make both the revolutionary changes and nuanced tweaks required for success. Praise for Beyond the Obvious "Human beings are creatures of habit, so getting ourselves and our teams to think beyond the obvious is a challenge we face all the time. Phil McKinney is an innovation expert, and his killer questions and hit-the-spot anecdotes provide a great way to get out in front of opportunities we otherwise won't see." -- Geoffrey Moore, author of Crossing the Chasm and Escape Velocity "I've always believed that asking the right questions is the essence of design. Phil McKinney proves that point with this wonderful set of killer questions that will jumpstart-or greatly enhance- your innovation efforts." -- B. Joseph Pine II, co-author, The Experience Economy & Infinite Possibility. "Product Innovation is a prerequisite to building great brands. Phil's questions are a prerequisite to building innovative products." -- Satjiv S. Chahil, former global marketing chief, Apple"

    Each palette--which includes anywhere from 6 to 16 color swatches--forms a blueprint for a unique decorative scheme. A palette based on old Chinese silk, for example, is seen reinterpreted in a contemporary New York apartment. Plus, each palette features gorgeous photographs that bring the color scheme to life, along with invaluable advice and tips for using the colors to transform a room. Readers will also find manufacturers' paint references and numbers, lists of suppliers, and much more. The ultimate color sourcebook!

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    Offering a unique insight into the very essence of graffiti and its creative explosion over the past thirty-five years, it takes us on an adventure throughout the Americas and Europe to almost every corner of the globe." With over 2,000 pictures of artworks from more than 180 international artists, no other book is remotely so comprehensive or up to date. Nicholas Ganz combines his own first-hand experiences with quotes from the artists themselves to offer a true insider's perspective to the key trends and style developments that have made graffiti what it is today: a global phenomenon.

    To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon exhaustive personal observation of the phenomena of color.Of his own theory, Goethe was supremely confident: "From the philosopher, we believe we merit thanks for having traced the phenomena of colours to their first sources, to the circumstances under which they appear and are, and beyond which no further explanation respecting them is possible."Goethe's scientific conclusions have, of course, long since been thoroughly demolished, but the intelligent reader of today may enjoy this work on quite different grounds: for the beauty and sweep of his conjectures regarding the connection between color and philosophical ideas; for an insight into early nineteenth-century beliefs and modes of thought; and for the flavor of life in Europe just after the American and French Revolutions.The work may also be read as an accurate guide to the study of color phenomena. Goethe's conclusions have been repudiated, but no one quarrels with his reporting of the facts to be observed. With simple objects -- vessels, prisms, lenses, and the like -- the reader will be led through a demonstration course not only in subjectively produced colors, but also in the observable physical phenomena of color. By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory -- Goethe never even mentions it -- that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.

    Wada was ahead of his time in developing traditional and Western influenced colour combinations, helping to lay the foundations for contemporary colour research. Based on his original 6-volume work from the 1930s, this book offers 348 color combinations, as attractive and sensuous as the books own design.

    series.Fifty Fashion Looks that Changed the 1950s showcases fifty iconic outfits from one of fashion's most influential and exciting decades. From the bombshell glamour of Marilyn Monroe in How to Marry a Millionnaire to the emergence of teenage style, via the sculptural forms of Christian Dior's New Look and Balenciaga's double A-line, this elegant sourcebook celebrates all the looks that revolutionized fashion. With Paula Reed's lively and informative text and a wealth of fabulous photography, this book will be required reading for design students, collectors of vintage and all those who love fashion.

    Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.

    The latest in the best-selling Isms series, which includes Isms: Understanding Art, Isms: Understanding Architectural Styles and Isms: Understanding Religion, is Isms: Understanding Fashion. Concisely written, this book packs loads of detail into a handy small format, tracing the evolution of costume history and fashion through a series of interconnected trends and movements (a.k.a. "isms") from the Greco-Roman toga and the antebellum hoop skirt to the latest from the runway. This guide is organized chronologically and covers the evolution of costume, the beginning of haute couture, and the rise of fashion as we know it— documented throughout with a combination of line drawings, costume illustration, and fashion photography. It includes an overview of designers from the classic—Coco Chanel, Dior—to the contemporary design greats, such as Tom Ford and Marc Jacobs. While the book traces the influences and links between designers, it also includes patrons, from Marie-Antoinette to Jackie Kennedy and Princess Diana, as well as fashion muses from Sarah Bernhardt to Sarah Jessica Parker. Related topics such as accessories and accoutrements are included as well. Anyone interested in costume and fashion will delight in this book.

    His style philosophy is: Less is Modern.The good news is: the most stylish clothes you can have are probably already in your closet. But savvy women are on a perpetual quest to find the perfect addition to their wardrobe: the perfect bathing suit, a traffic-stopping pair of jeans, that classic little black dress. While the editorial pages of high fashion magazines can offer inspiration, they can’t help you find what works for your looks and lifestyle. But Lloyd Boston’s The Style Checklist offers basic guidance to help make your everyday commute your runway. With solutions to common fashion problems and a lot of how-to advice, this book simplifies and demystifies how to achieve style.

    Subjective feelings and objective color principles are described in detail and clarified by color reproductions.

    What is the value of things made by an anonymous craftsman working in a set tradition for a lifetime? What is the value of handwork? Why should even the roughly lacquered rice bowl of a Japanese farmer be thought beautiful? The late Soetsu Yanagi was the first to fully explore the traditional Japanese appreciation for objects born, not made.Mr. Yanagi sees folk art as a manifestation of the essential world from which art, philosophy, and religion arise and in which the barriers between them disappear. The implications of the author's ideas are both far-reaching and practical.Soetsu Yanagi is often mentioned in books on Japanese art, but this is the first translation in any Western language of a selection of his major writings. The late Bernard Leach, renowned British potter and friend of Mr. Yanagi for fifty years, has clearly transmitted the insights of one of Japan's most important thinkers. The seventy-six plates illustrate objects that underscore the universality of his concepts. The author's profound view of the creative process and his plea for a new artistic freedom within tradition are especially timely now when the importance of craft and the handmade object is being rediscovered.

    It is also composed of basically simple elements, which, guided by a rich mythology, create images of striking power. This indispensable and beautifully illustrated book is the first to introduce everyone, from the casual observer to the serious collector of Northwest Coast prints, to the forms, cultural background and structures of this highly imaginative art. The elements of style are introduced; the myths and legends which shape the motifs are interpreted; the stylistic differences between the major cultural groupings are defined and illustrated. Raven, Thunderbird, Killer Whale, Bear: all the traditional forms are here, deftly analyzed by a professional writer and artist who has a deep understanding of this powerful culture.