It is an outrageously funny, often touching, and continuously shocking tale of a modern sea gypsy. Cap'n Fatty's story is too bizarre to be fiction. Father wears floral skirts; mother is a tad vague. Sister Carole isn't interested in her millionaire suitor; she's too busy smooching with the kid in the cesspool truck. Their strange live-aboard boat caravan includes Mort the Mortician, Backwards Bernie, Ruby Red the Conman, Barefoot Benny, Geeper Creeper, Para the Paranoid, Lusty Laura, Xlax, Shark Boy, the Pawtucket Pirate, Bait Broad, Colonel Crispy, Scupper Lips, Bob the Broker, the Pirate Queen, Otto the Owner, the Twin Slaves of Green Slime-and even a terribly long-winded fellow named (Hurricane) Hugo. All seem hell-bent on avoiding the cops, the creeps, each other, and especially the Dreaded Dream Crushers. Dive in!

    This paperback edition includes all of the three hundred fifty illustrations from the original edition, as well as the completeand unabridged text, revealing . the symbolism inherent in representations of religious personages, the Earth and Sky, animals, birds, insects, and flowers. In addition to a discussion of objects treated symbolically in Christian art, George Ferguson explores Old Testament characters and events andtheir symbolic representation in art. In addition to a discussion of objects treated symbolically in Christian art, George Ferguson explores Old Testament characters and events and their symbolic representation in art.

    Travelers bring him tales of faraway, fantastic people and places; the map takes on many dimensions and grows. Slowly, Fra Mauro's vision begins to embrace not only continents and kingdoms but something just as wondrous and real: a vast interior landscape of beliefs, aspirations, and dreams.

    . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two." --Roger Lowenstein, The Wall Street JournalA captivatingstudy of Napoleon's plundering of Europe's art for the Louvre, told through the story of a Renaissance masterpiece seized from VeniceCynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings.As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness--to carry forward the finest aspects of civilization--and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.

    Ten lyrical and passionate essays on the culture, art, and history of Western Europe written from the perspective of the post-Stalinist thaw of the 1960s.

    Over the course of his life, Guston’s wide reading in literature and philosophy deepened his commitment to his art—from his early Abstract Expressionist paintings to his later gritty, intense figurative works. This collection, with many pieces appearing in print for the first time, lets us hear Guston’s voice—as the artist delivers a lecture on Renaissance painting, instructs students in a classroom setting, and discusses such artists and writers as Piero della Francesca, de Chirico, Picasso, Kafka, Beckett, and Gogol.

    Why does he seem so familiar? And what is his connection to the great Renaissance painter? Set in Paris and Italy, this lyrical first novel interweaves two parallel love stories, offering readers a unique view on the research and inspiration that goes into creating historical novels such as The Girl with the Pearl Earring and The Birth of Venus.

    He lived during the Italian Renaissance, a period known for its creative activity. Civilization made huge strides in science and invention, in literature, and in politics. In art, the age's great achievement, Michelangelo led all others.A short, wide-shouldered man with a face made homely by a broken nose, Michelangelo had a remarkable ability to concentrate his thoughts and energy on the task in hand. Often while working he would eat only a little bread, would sleep on the floor or on a cot beside his unfinished painting or statue, and would continue to wear the same clothes until his work was finished.

    She could neither read nor write, and she was the reviled victim in a public rape trial, rejected by her father, and later abandoned by her husband. Nevertheless, she was one of the first women in modern times to uphold through her work and deeds the right of women to pursue careers compatible with their talents and on an equal footing with men. This edition features a new introduction by the celebrated critic and writer Susan Sontag. Anna Banti, the pen name of Lucia Lopresti, was born in Florence in 1895. Trained as an art historian, she turned to novels, stories, and autobiographical prose in the 1930s. Artemisia, her second novel, published in 1947, is the most acclaimed of the sixteen works of fiction she published during her long life, and is considered a classic of twentieth century Italian literature. Her last, harrowingly confessional novel, A Piercing Cry (Un grido lacerante), appeared in 1981. Banti also wrote art criticism and monographs on painters (Lorenzo Lotto, Fra Angelico, Velázquez, Monet), literary criticism and film reviews, and translated novels by Thackery, Colette, Alain Fournier, and Virginia Woolf. She died in Ronchi di Massa (Tuscanny) in 1985.

    And yet, until about ten minutes ago I had no conception of its magnitude, its permanent beauty and its importance." —Franklin Delano Roosevelt, upon first viewing Mount Rushmore, August 30, 1936Now in paperback, The Carving of Mount Rushmore tells the complete story of the largest and certainly the most spectacular sculpture in existence. More than 60 black-and-white photographs offer unique views of this gargantuan effort, and author Rex Alan Smith—a man born and raised within sight of Rushmore—recounts with the sensitivity of a native son the ongoing struggles of sculptor Gutzon Borglum and his workers.

    But after her grandmother passes away and it falls to her less-than-reliable father to take her instead, Meg’s long-anticipated travel plans seem permanently on hold. When her dad finally tells Meg to book the trip, she prays that the experience will heal the fissures left on her life by her parents’ divorce. But when Meg arrives in Florence, her father is nowhere to be found, leaving aspiring memoir-writer Sophia Borelli to introduce Meg to the rich beauty of the ancient city. Sofia claims to be one of the last surviving members of the Medici family and that a long-ago Medici princess, Nora Orsini, communicates with her from within the great masterpieces of the Italian Renaissance. When Sophia, Meg, and Nora’s stories intersect, their lives will be indelibly changed as they each answer the question: What if renaissance isn’t just a word? What if that’s what happens when you dare to believe that what is isn’t what has to be?

    Longtime skateboard artist Sean Cliver put together this staggering survey of over 1,000 skateboard graphics from the last 30 years, creating an indispensable insiders' history as he did so.Alongside his own history, Sean has assembled a wealth of recollections and stories from prominent artists and skateboarders such as: Andy Howell, Barry McGee, Ed Templeton, Steve Caballero, and Tony Hawk.The end result is a fascinating historical account of art in the skateboard subculture, as told by those directly involved with shaping its legendary creative face.

    1525-1569) turned his eye on the everyday. Most of Bruegel's 45 surviving works, which are all reproduced in this book, record the facts of 16th century life in rural or small town communities. In this title in the Basic Art Series, Rose-Marie and Rainer Hagen outline the artist's account of his society and times, and the relevance that account has for us today.

    Penniless and desperate to avoid the perils of whoredom, she is introduced to a troupe of travelling actors, who ask her to join them as costume mistress. Within weeks she begins to learn how to act.Acting will bring her closer to Beppe Bianchi, the young man with whom she is developing a passionate relationship. But after a f?ted performance at an aristocrat's castle, Sofia is accosted by the owner and the following morning he is found dead.Who was the dead nobleman, and how did his secret past lead to his murder? Uncovering blackmail, violence and sexual jealousies, the true killer will be revealed and the power of theatre will conquer all

    Superbly reproduced in full color, here are all of the most important paintings in the Louvre. The works of the great French masters - which amount to over half of the collection - are well represented, with paintings by Poussi, Fragonard, David, Gericault, Delacroix, Ingres, and Corot, to name only a few. The Mona Lisa is included, together with a good selection of Leonardo da Vinci's other paintings. Many other great Italian masterpieces are reproduced - from the early gilded panels of Giotto to altarpieces by Fra Angelico, from frescoes by Botticelli to canvases by Veronese, Titian, Tintoretto, and their successors. Here too are fine examples from the Flemish, Dutch, German, English, and Spanish schools, including Bosch, Durer, Vermeer, Turner, and El Greco.