Within days police, and even those closest to Marie, became suspicious of her story. The police swiftly pivoted and began investigating Marie. Confronted with inconsistencies in her story and the doubts of others, Marie broke down and said her story was a lie--a bid for attention. Police charged Marie with false reporting, and she was branded a liar.More than two years later, Colorado detective Stacy Galbraith was assigned to investigate a case of sexual assault. Describing the crime to her husband that night, Galbraith learned that the case bore an eerie resemblance to a rape that had taken place months earlier in a nearby town. She joined forces with the detective on that case, Edna Hendershot, and the two soon discovered they were dealing with a serial rapist: a man who photographed his victims, threatening to release the images online, and whose calculated steps to erase all physical evidence suggested he might be a soldier or a cop. Through meticulous police work the detectives would eventually connect the rapist to other attacks in Colorado--and beyond.Based on investigative files and extensive interviews with the principals, A False Report/i>is a serpentine tale of doubt, lies, and a hunt for justice, unveiling the disturbing truth of how sexual assault is investigated today - and the long history of skepticism toward rape victims.

    Now she understands what it means for a painter to be called an Impressionist. This innovative art book for children contains full-color photos of many of Monet's famous paintings.

    1450–1516) was more than an anomaly. Bosch’s paintings are populated with grotesque scenes of fantastical creatures succumbing to all manner of human desire, fantasy, and angst. One of his greatest inventions was to take the figural and scenic representations known as drolleries, which use the monstrous and the grotesque to illustrate sin and evil, and to transfer them from the marginalia of illuminated manuscripts into large-format panel paintings. Alongside traditional hybrids of man and beast, such as centaurs, and mythological creatures such as unicorns, devils, dragons, and griffins, we also encounter countless mixed creatures freely invented by the artist. Many subsidiary scenes illustrate proverbs and figures of speech in common use in Bosch’s day. In his Temptation of St Anthony triptych, for example, the artist shows a messenger devil wearing ice skates, evoking the popular expression that the world was “skating on ice”—meaning it had gone astray. In his pictorial translation of proverbs, in particular, Bosch was very much an innovator. Bosch—whose real name was Jheronimus van Aken—was widely copied and imitated: the number of surviving works by Bosch’s followers exceeds the master’s own production by more than tenfold. Today only 20 paintings and eight drawings are confidently assigned to Bosch’s oeuvre. He continues to be seen as a visionary, a portrayer of dreams and nightmares, and the painter par excellence of hell and its demons. Featuring brand new photography of recently restored paintings, this exhaustive book, published in view of the upcoming 500th anniversary of Bosch’s death, covers the artist’s complete works. Discover Bosch’s pictorial inventions in splendid reproductions with copious details and a huge fold-out spread, over 110 cm (43 in.) long, of The Garden of Earthly Delights. Art historian and acknowledged Bosch expert Stefan Fischer examines just what it was about Bosch and his painting that proved so immensely influential.

    His technique-which earned him a reputation as "The Norman Rockwell of cheesecake"-involved photographing models and then painting them into gorgeous hyper-reality, with longer legs, more flamboyant hair and gravity-defying busts, and in the process making them the perfect moral-boosting eye-candy for every homesick private.

    Celebrated by some for his naturalism and his revolutionary pictorial inventions, he was considered by others to have destroyed painting. Few other artists have provoked such controversy and so many contradictory interpretations right up to modern times.  On the heels of Caravaggio year 2010, this work offers a comprehensive reassessment of Caravaggio’s entire oeuvre, with a catalogue raisonné of his works. Five introductory chapters analyze his artistic career from his training in Lombard Milan and his triumphal rise in papal Rome, up to his dramatic final years in Naples, Malta, and Sicily. The spotlight thereby falls upon the radical nature and innovative force of Caravaggio’s art and its influence in all of Europe.   Our understanding of Caravaggio’s work has been substantially broadened in recent decades by major exhibitions, restoration campaigns, new attributions and archival discoveries. The new catalogue raisonné offers a detailed overview of the artist’s entire oeuvre based on the latest research. Every painting is reproduced in large-scale format, with spectacular details that offer dramatic close-ups and set new standards in print quality. A new photographic campaign has been undertaken, enabling the smallest details to be reproduced on a large scale for the first time.They reveal all the more clearly Caravaggio’s virtuosity and his enormous ability to capture the viewer’s attention and to build a communicative bridge between the worlds of picture and viewer. Sequences of spectacular details grouped by subject allow us to experience Caravaggio’s ingenious rhetoric of looks and gestures and their theatrical staging in paint.

    In this sweeping account, renowned historian Linda Gordon charts Lange’s journey from polio-ridden child to wife and mother, to San Francisco portrait photographer, to chronicler of the Great Depression and World War II. Gordon uses Lange’s life to anchor a moving social history of twentieth-century America, re-creating the bohemian world of San Francisco, the Dust Bowl, and the Japanese American internment camps. She explores Lange’s growing radicalization as she embraced the democratic power of the camera, and she examines Lange’s entire body of work, reproducing more than one hundred images, many of them previously unseen and some of them formerly suppressed. Lange reminds us that beauty can be found in unlikely places, and that to respond to injustice, we must first simply learn how to see it.

    Treasured by the ancient Mexicans, cochineal was sold in the great Aztec marketplaces, where it attracted the attention of the Spanish conquistadors in 1519. Shipped to Europe, the dye created a sensation, producing the brightest, strongest red the world had ever seen. Soon Spain's cochineal monopoly was worth a fortune. Desperate to find their own sources of the elusive dye, the English, French, Dutch, and other Europeans tried to crack the enigma of cochineal. Did it come from a worm, a berry, a seed? Could it be stolen from Mexico and transplanted to their own colonies? Pirates, explorers, alchemists, scientists, and spies—all joined the chase for cochineal, a chase that lasted more than three centuries. A Perfect Red tells their stories—true-life tales of mystery, empire, and adventure, in pursuit of the most desirable color on earth.

    David Levi Strauss writes in his essay: "The constitutive facts of Francesca Woodman's life are by now well known. We know that she was born in 1958, that she began taking photographs seriously at age thirteen or fourteen and continued this involvement into her twenty-second year, building up, in this brief time, a remarkably coherent and affecting body of work. And we know that on January 19, 1981, just two and a half months before her twenty-third birthday, she took her own life, leaping from a window on the Lower East Side in Manhattan to her death". This volume, containing many unpublished images, finally allows us to discover the full body of work of this artist, created in Rhode Island, Rome, New York, MacDowell Colony, New Hampshire: self-portraits, mise-en-scenes, nudes, and deeply emotional collage-like images. They all show her intense relation with the camera and her own self, long before this kind of picture-making became fashionable.

    In this compelling biography, author Marilyn Chase brings Asawa's story to vivid life. She draws on Asawa's extensive archives and weaves together many voices—family, friends, teachers, and critics—to offer a complex and fascinating portrait of the artist. Born in California in 1926, Ruth Asawa grew from a farmer's daughter to a celebrated sculptor. She survived adolescence in the World War II Japanese-American internment camps and attended the groundbreaking art school at Black Mountain College. Asawa then went on to develop her signature hanging-wire sculptures, create iconic urban installations, revolutionize arts education in her adopted hometown of San Francisco, fight through lupus, and defy convention to nurture a multiracial family.• A richly visual volume with over 60 reproductions of Asawa's art and archival photos of her life (including portraits shot by her friend, the celebrated photographer Imogen Cunningham)• Documents Asawa's transformative touch—most notably by turning the barbed wire of prison camps into wire sculptures of astonishing power and delicacy• Author Marilyn Chase mined Asawa's letters, diaries, sketches, and photos and conducted interviews with those who knew her to tell this inspiring story.Ruth Asawa forged an unconventional path in everything she did—whether raising a multiracial family of six children, founding a high school dedicated to the arts, or pursuing her own practice independent of the New York art market. Her beloved fountains are now San Francisco icons, and her signature hanging-wire sculptures grace the MoMA, de Young, Getty, Whitney, and many more museums and galleries across America.• Ruth Asawa's remarkable life story offers inspiration to artists, art lovers, feminists, mothers, teachers, Asian Americans, history buffs, and anyone who loves a good underdog story. • A perfect gift for those interested in Asian American culture and history • Great for those who enjoyed Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art by Mary Gabriel, Ruth Asawa: Life's Work by Tamara Schenkenberg, and Notes and Methods by Hilma af Klint

    Explores the epic human drama behind the making of the five movies nominated for Best Picture in 1967-Guess Who's Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever.

    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.

    In Eat My Words: Reading Women's Lives through the Cookbooks They Wrote, Janet Theophano shows that cookbooks provide food for the mind and the soul as well. Looking beyond the ingredients and instructions, she shows how women have used cookbooks to assert their individuality, develop their minds, and structure their lives. Beginning in the seventeenth century and moving up through the present day, Theophano reads between the lines of recipes for dandelion wine, "Queen of Puddings," and half-pound cake to capture the stories and voices of these remarkable women.The selection of books looked at is enticing and wide-ranging. Theophano begins with seventeenth-century English estate housekeeping books that served as both cookbooks and reading primers so that women could educate themselves during long hours in the kitchen. She looks at A Date with a Dish, a classic African American cookbook that reveals the roots of many traditional American dishes, and she brings to life a 1950s cookbook written specifically for Americans by a Chinese émigré and transcribed into English by her daughter. Finally, Theophano looks at the contemporary cookbooks of Lynne Rosetto Kaspar, Madeleine Kamman, and Alice Waters to illustrate the sophistication and political activism present in modern cookbook writing. Janet Theophano harvests the rich history of cookbook writing to show how much more can be learned from a recipe than how to make a casserole, roast a chicken, or bake a cake. We discover that women's writings about food reveal--and revel in--the details of their lives, families, and the cultures they help to shape.

    Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    and there I am. There's nothing behind it." This book penetrates the surface and explores Warhol's art from his beginnings as a commercial artist to his apotheosis as a society portrait painter. Vivid illustrations reveal Andy's worlds: his childhood in Pittsburgh, his chaotic Manhattan mansion, and the Silver Factory, where New York's bright new things hung out and had fun. Series writer Catherine Ingram brings her extensive knowledge to the book, while specially commissioned illustrations by Andrew Rae vividly portray the text.This title is appropriate for ages 14 and up

    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