Guiding the reader through a church outside Rome, Sant'Agnese fuori le Mura, she draws upon history, theology, anthropology, and folklore to illuminate the spiritual meanings embedded in its architecture.

    

    Thaw, and the hailstorm of publicity that surrounded "the trial of the century"--has proven irresistable to generations of novelists, historians, and biographers. The premier neoclassical architect of his day, White's legacy to the world were such masterpieces as New York's original Madison Square Garden, the Washington Square Arch, and the Players, Metropolitan, and Colony clubs. He was also responsible for the palaces of such clients as the Whitneys, Vanderbilts, and Pulitzers, the robber barons of the Gilded Age whose power and dominance shaped the nation in its heady ascent at the turn of the century.As the century rolled on, however, the story of Stanford White and Evelyn Nesbit came to be viewed as glamorous and romantic, the darker narrative of White's out-of-control sexual compulsion obscured by time. Indeed, White's wife Bessie and his son Larry remained adamantly silent about the matter for the duration of their lives, a silence that reverberated through the next four generations of their extended family.Suzannah Lessard is the eldest of Stanford White's great grandchildren. It was only in her 30's that she began to sense the parallels between the silence about her great-grandfather's life and the silence about her own perilous experience as a little girl in her own home. Thus she became drawn to the remarkable history of her family in order to uncover its hidden truths, and in so doing to liberate herself from its enclosure at last. The result is a multi-layered memoir of astonishing elegance and power, one that, like a great building, is illumined room by room, chapter by chapter, until the whole is clearly seen.

    Passionately argued, brilliantly written, and filled with Paglia’s trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown—paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context—from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock’s abstract Green Silver to Renée Cox’s daring performance piece Chillin’ with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world’s greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.

    Originally published in Munich in 1912 and edited by Kandinsky and Marc-- the movements's almanac presented their synthesis of international culture to the European avant garde at large. In both the selection of essays and its innovative interplay of word and image, The Blaue Reiter Almanac remains one of our most critically important works of literature on the art theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of Modernism, simulates the original German format, and includes documents, and musical notations, as well as seminal essays by Kandinsky, Schoenberg, Marc and others. Nearly 150 illustrations, from ancient and contemporary sources, capture the wide-ranging interests and passions that inspired Kandinsky's and Marc's programmatic attempt to make Modernism accessible across national and chronological boundaries. Also included is Klaus Lankheit's extensive critical introduction, which places the Blaue Reiter in context for contemporary readers."The almanac remains unique among European writings on art; no other country produced a comparable work capturing the excitement and tension of the years before World War I." (Will Grohmann)

    The story begins in the years before WWII when a penniless Japanese child is torn from her family to work as a servant in a geisha house. Despite a treacherous rival who nearly breaks her spirit, the girl blossoms into the legendary geisha Sayuri (Ziyi Zhang). Beautiful and accomplished, Sayuri captivates the most powerful men of her day, but is haunted by her secret love for the one man who is out of her reach (Ken Watanabe).The Newmarket Pictorial Moviebook explores the intricate process of re-creating the period and world of the geisha. Special sections showcase production design, makeup, choreography, and costumes, featuring kimonos created especially for the movie by five-time Oscar®-nominated costume designer Colleen Atwood. Sidebars throughout also provide fascinating historical background on the geisha culture.

    17th century to the present. Book was reprinted in 2006

    Since nobody photographs libraries as beautifully as Hofer, it seemed only natural to dedicate one of her publications to the splendid and intimate cathedrals of knowledge across Europe and the US: the Escorial in Spain, the Whitney Museum in New york, Villa Medici in Rome, the Hamburg University library, the Bibliotheque nationale de France in Paris, the Museo Archeologico in Madrid, and Pierpont Morgan Library in New York, to name just a few. Almost completely devoid of people, as is Candida Hofer's trademark, these pictures radiate a comforting serenity that is exceptional in contemporary photography. Now available in an unchanged reprint.

    From the moment of its discovery a battle for possession ensued and was won, eventually, by the French. Touted by her keepers in the Louvre as the great classical find of the era, the sculpture gained instant celebrity–and yet its origins had yet to be documented or verified.From the flurry of excitement surrounding her discovery, to the raging disputes over her authenticity, to the politics and personalities that have given rise to her mystique, Gregory Curtis has given us a riveting look at the embattled legacy of a beloved icon and a remarkable tribute to one of the world’s great works of art.

    Auguste Rodin spoke candidly to his protégé, Paul Gsell, who recorded the master's thoughts not only about the technical secrets of his craft, but also about its aesthetic and philosophical underpinnings.Here is the real Rodin—relaxed, intimate, open, and charming—offering a wealth of observations on the relationship of sculpture to poetry, painting, theater, and music. He also makes perceptive comments on Rembrandt, Michelangelo, Raphael, and other great artists, and he shares revealing anecdotes about Hugo, Balzac, and others who posed for him. Seventy-six superb illustrations of the sculptor's works complement the text, including St John the Baptist Preaching, The Burghers of Calais, The Thinker, and many others, along with a selection of exuberant drawings and prints.

    Her most cherished sights and experiences color this timeless, graceful portrait of a city that's as famous as it is alluring.

    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.

    The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.

    We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world.While holding this to be true of authentic art, the author acknowledges the presence--overwhelming in our media-saturated age--of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival.Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.

    So archaeologist Matthew Champion started a nationwide survey to gather the best examples. In this book he shines a spotlight on a secret world of ships, prayers for good fortune, satirical cartoons, charms, curses, windmills, word puzzles, architectural plans and heraldic designs. Drawing on examples from surviving medieval churches in England and Wales, the author gives a voice to the secret graffiti artists: from the lord of the manor and the parish priest to the people who built the church itself.Here are strange medieval beasts, knights battling unseen dragons, ships sailing across lime-washed oceans and demons who stalk the walls. Latin prayers for the dead jostle with medieval curses, builders’ accounts and slanderous comments concerning a long-dead archdeacon. Strange and complex geometric designs, created to ward off the ‘evil eye’ and thwart the works of the devil, share church pillars with the heraldic shields of England’s medieval nobility.