Through Hogarth's lifelong marriage to Jane Thornhill, his inability to have children, his time as one of England's best portrait painters, his old age and unfortunate dip into politics, and his untimely death, I, Hogarth is the remarkable story told through the artist's eyes. Michael Dean blends Hogarth's life and work into a rich and satisfying narrative, recommended for fans of Hilary Mantel and Peter Ackroyd.

    But outside the lab, Herzog also devoted himself to what was, at the time, an unusual and even frowned-upon medium, at least artistically: color photography. Laboring away as a virtually anonymous pioneer in this field, some 20 years before William Eggleston's watershed show at the Museum of Modern Art, Herzog was quietly documenting in rich Kodachrome the streets of Vancouver: its supermarkets, gas stations, bars, urban scenery and above all its working class culture. Herzog used slide film to make his photographs, which limited his ability to exhibit them and further marginalized his work; but in recent decades, happily, this color pioneer has drawn great acclaim, and this volume, the largest Herzog monograph yet published, does marvelous justice to his rich oeuvre.

    No better introduction to Western painting has ever been produced.' – The Sunday Times

    In The Clitoral Truth, Chalker offers the only mainstream, in-depth exploration devoted solely to women's genital anatomy and sexual response. Women readers everywhere--be they straight, gay, or bisexual--will learn about the countless sexual sensations and discover how to enhance their sexual responses in a more concrete way than ever before. Enhanced with personal accounts, comprehensive illustrations, and a thorough appendix of female sexuality resources, this book helps women and their partners understand and expand their sexual potential and work toward becoming independent sexual beings.

    Make every moment count.”Olivia Frasier grew up under the guidance of her grandmother's mantra: “Live a storied life.” The oft-repeated words gave her the courage to pursue art instead of working at the family bank until a mistake made in college altered the course of her life. Now, no one knows Olivia still paints. Not her friends. Not her staff at the art gallery. Certainly not her family.She can ignore the twinge of unease, the regret that surfaces when Gram's mantra comes to mind, the question of whether this is all life has to offer.When Gram announces she has terminal cancer—and names Olivia as her Power of Attorney for Healthcare—Olivia is thrust in to the world of hospice and dying wishes. Olivia may be the family’s black sheep but she is determined to see Gram through this, no matter the cost.Faced with losing the one person on her side, Olivia clings to the knowledge that Gram's death will finally allow her to walk away from the family. And yet Gram is determined to impart one last lesson: let go of the past so she can live the life she’s meant to lead.When Reagan walks into her art gallery, the timing couldn’t be worse. He’s everything Olivia ever dreamed of wanting but she has learned to settle for less when it comes to her relationships and career. At what point does owning your story outweigh the potential hurt?Weaving together grief and beauty, humor and romance, A Storied Life will make you rethink life, love, and loss.Please note: this book explores the death of a loved one by cancer and contains mentions of past sexual harassment and suicidal ideation that could potentially trigger certain audiences.

    In this first book collection of his work, readers can see a fascinating combination of adorable girls with large, manga-influenced eyes, and soulful Japanese landscape illustrations. Momentary features never-before-published finished work and sketches, as well as written commentary (in both Japanese and English) from the artist himself.Kuvshinov has a significant social media following on Instagram, Twitter and DeviantArt. On Instagram alone, 785,000 followers from all over the world eagerly await his latest posts.

    Tolkien's The Lord of the Rings? His bright blue coat and yellow boots seem out-of-place with the grandeur of the rest of the narrative. In this book, C.R. Wiley shows that Tom is not an afterthought but Tolkien's way of making a profoundly important point. Tolkien once wrote, "[Tom Bombadil] represents something that I feel important, though I would not be prepared to analyze the feeling precisely. I would not, however, have left him in, if he did not have some kind of function." Tom Bombadil and his wife Goldberry are a small glimpse of the perfect beauty, harmony, and happy ending that we all yearn for in our hearts. To understand Tom Bombadil is to understand more of Tolkien and his deeply Christian vision of the world."

    Over more than four decades, he built a reputation writing reviews for the Chicago Sun-Times and, later, arguing onscreen with rival Chicago Tribune critic Gene Siskel and later Richard Roeper about the movies they loved and loathed. But Ebert went well beyond a mere “thumbs up” or “thumbs down.” Readers could always sense the man behind the words, a man with interests beyond film and a lifetime’s distilled wisdom about the larger world. Although the world lost one of its most important critics far too early, Ebert lives on in the minds of moviegoers today, who continually find themselves debating what he might have thought about a current movie.The Great Movies IV is the fourth—and final—collection of Roger Ebert’s essays, comprising sixty-two reviews of films ranging from the silent era to the recent past. From films like The Cabinet of Caligari and Viridiana that have been considered canonical for decades to movies only recently recognized as masterpieces to Superman, The Big Lebowski, and Pink Floyd: The Wall, the pieces gathered here demonstrate the critical acumen seen in Ebert’s daily reviews and the more reflective and wide-ranging considerations that the longer format allowed him to offer. Ebert’s essays are joined here by an insightful foreword by film critic Matt Zoller Seitz, the current editor-in-chief of the official Roger Ebert website, and a touching introduction by Chaz Ebert. A fitting capstone to a truly remarkable career, The Great Movies IV will introduce newcomers to some of the most exceptional movies ever made, while revealing new insights to connoisseurs as well.

    The sparkling redesigned city fostered a culture of energetic crowd-pleasing and multi-sensory amusements that would apprehend and represent real life as spectacle.Vanessa R. Schwartz examines the explosive popularity of such phenomena as the boulevards, the mass press, public displays of corpses at the morgue, wax museums, panoramas, and early film. Drawing on a wide range of written and visual materials, including private and business archives, and working at the intersections of art history, literature, and cinema studies, Schwartz argues that "spectacular realities" are part of the foundation of modern mass society. She refutes the notion that modern life produced an unending parade of distractions leading to alienation, and instead suggests that crowds gathered not as dislocated spectators but as members of a new kind of crowd, one united in pleasure rather than protest.

    As an impressionable bride of seventeen who married a man more than twice her age, Grace's remarkable beauty (likened by journalists to "a May morning") soon attracted the attentions of other men. A disastrous liaison with a consummate rake not only branded Grace as a demi-rep - a woman with half a reputation - but the scandal provoked Dr. John Eliot, her philandering husband, to pursue a divorce.Grace became mistress of the most infamous peer in England, George James, Lord Cholmondeley, whose "secret perfections" were reputed to inspire "female enthusiasm." Cholmondeley commemorated the relationship by commissioning two works from eminent portraitist Thomas Gainsborough, first in 1778 and later in 1782, the same year Grace gave birth to a daughter, Georgiana (who may, in fact, have been the child of the Prince of Wales). Had Grace been an aristocrat, she and Cholmondeley might have had a future together, but it was not to be.The tabloids broke the news: "Miss Dalrymple has embarked for France, and it is said parted with her noble gallant." Grace was soon to find a new protector in that nation's richest man, Philippe, Duc d'Orleans. Though Grace was ensconced as "one of the most brilliant and popular among the fashionable 'impures,'" her liaison with the duke turned perilous when Orleans fell to the Revolution's guillotine, just as she narrowly escaped with her life."People die, but love may not," declares author Jo Manning of her subject's romantic and historic misadventures. A connoisseur of the times, Manning ably demonstrates - through contemporary newspapers, magazines, prints, and portraits as well as Grace's posthumously published journal - how life in George III's England and Marie Antoinette's France can seem strangely familiar, especially when history turns to affairs of the heart.

    The second book of Dante Alighieri's classic poem "The Divine Comedy," this version of "Purgatorio" couples a clever literary adaptation incorporating modern urban speech and contemporary references with powerful illustrations inspired by Gustave Dore's famous engravings. Whereas "Inferno" was primarily situated in a city that bears a curious resemblance to modern Los Angeles, "Purgatorio" is set in a surreal San Francisco Bay Area, an outlandish and hopeful milieu for those who have a chance to wash their sins away. Together, the sardonic yet playful combination of text and images comprise a vivid retelling of this masterpiece.

    John Brewster's landmark book shows us how English artists, amateurs, entrepeneurs, and audiences created a culture that is still celebrated for its wit and brilliance.

    The book comprises a string of dramatic and evocative locales, each embodying specific artistic tendencies and together spanning the modern era--from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarme to the Folies-Bergere, attend a lecture by Emerson, and visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Ranciere uses these sites and events--some famous, others forgotten--to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the distinctions between the different arts along with the borders separating them from ordinary experience.This incisive study provides a history of artistic modernity far removed from conventional understandings of modernism.

    Long before “fake news” became the calling card of the Right, Americans had lost faith in their news media. But lately, the feeling that something is off has become impossible to ignore. That’s because the majority of our mainstream news is no longer just liberal; it’s woke. Today’s newsrooms are propagating radical ideas that were fringe as recently as a decade ago, including “antiracism,” intersectionality, open borders, and critical race theory. How did this come to be?It all has to do with who our news media is written by―and who it is written for. In Bad News: How Woke Media Is Undermining Democracy, Batya Ungar-Sargon reveals how American journalism underwent a status revolution over the twentieth century―from a blue-collar trade to an elite profession. As a result, journalists shifted their focus away from the working class and toward the concerns of their affluent, highly educated peers. With the rise of the Internet and the implosion of local news, America’s elite news media became nationalized and its journalists affluent and ideological. And where once business concerns provided a countervailing force to push back against journalists’ worst tendencies, the pressures of the digital media landscape now align corporate incentives with newsroom crusades.The truth is, the moral panic around race, encouraged by today’s elite newsrooms, does little more than consolidate the power of liberal elites and protect their economic interests. And in abandoning the working class by creating a culture war around identity, our national media is undermining American democracy. Bad News explains how this happened, why it happened, and the dangers posed by this development if it continues unchecked.

    Revealing the young general's reasons for leading the expedition against Egypt in 1798 and showcasing his fascinating views of the Orient, Cole delves into the psychology of the military titan and his entourage. He paints a multi-faceted portrait of the daily travails of the soldiers in Napoleon's army, including how they imagined Egypt, how their expectations differed from what they found, and how they grappled with military challenges in a foreign land. Cole ultimately reveals how Napoleon's invasion, the first modern attempt to invade the Arab world, invented and crystallized the rhetoric of liberal imperialism.