Organized chronologically, the book illuminates the dynamic relationship between design and manufacturing as well as the roles of technology, social change, and commercial forces on the course of design history. The layout of each chapter reflects the unique style of the period it describes, and some 450 illustrations throughout the volume provide a visual record of more than one hundred years of creative achievement in the field.Under the influence of William Morris and the Arts and Crafts movement in the late 19th century, a new era began for design arts. Fueled by popular Art Nouveau advertising, the work of graphic designers became central in the growing consumer goods economy. This book traces the emergence of varied modernist design styles in the early 20th century and then examines the wartime politicization of regional styles through American government patronage and revolutionary Soviet ideas. Richly contextualized chapters chronicle the history of the Bauhaus and the rise of the International Style, followed by the postmodern movement of the 1970s and '80s. After highlighting recent developments in graphic design around the globe, the author discusses the impact of inexpensive, powerful design software and the challenges facing designers now.

    This book explores his work.

    Her journey takes readers from the great cities of Europe and America to Egypt, Turkey, Greece, and Italy, as these countries face down the Louvre, the Metropolitan Museum, the British Museum, and the J. Paul Getty Museum. She also introduces a cast of determined and implacable characters whose battles may strip these museums of some of their most cherished treasures.For readers who are fascinated by antiquity, who love to frequent museums, and who believe in the value of cultural exchange, Loot opens a new window on an enduring conflict.

    Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be. The Art of Art History is a unique guide to understanding art history through a critical reading of the field's most innovative and influential texts over the past two centuries. Each section focuses on a key issue: aesthetics, style, history as an art, iconography and semiology, gender, modernity and postmodernity, deconstruction and museology. More than thirty readings from writers as diverse as Winckelmann, Kant, Gombrich, Warburg, Panofsky, Heidegger, Lisa Tickner, Meyer Schapiro, Jacques Derrida, Mary Kelly, Michel Foucault, Rosalind Krauss, Louis Marin, Margaret Iversen, and Nestor Canclini are brought together, and Donald Preziosi's introductions to each topic provide background information, bibliographies, and critical elucidations of the issues at stake. His own concluding essay is an important and original contribution to scholarship in the field.Contents:Art history : making the visible legible by Donald PreziosiReflections on the imitation of Greek works in painting and sculpture by Johann Joachim WinckelmannWinckelmann divided : mourning the death of art history by Whitney DavisPatterns of intention by Michael BaxandallWhat is enlightenment? ; The critique of judgement by Immanuel KantPhilosophy of fine art by G.W.F. HegelPrinciples of art history by Heinrich Wölfflin"Form," nineteenth-century metaphysics, and the problem of art historical description by David SummersStyle by Meyer SchapiroStyle by Ernst GombrichLeading characteristics of the late Roman "Kunstwollen" by Alois RieglImages from the region of the Pueblo Indians of North America by Aby WarburgWarburg's concept of "Kulturwissenschaft" and its meaning for aesthetics by Edgar WindRetrieving Warburg's tradition by Margaret IversenSemiotics and iconography by Hubert DamischSemiotics and art history : a discussion of context and senders by Mieke Bal and Norman Bryson"Et in Arcadia ego" : Poussin and the elegiac tradition by E. PanofskyToward a theory of reading in the visual arts : Poussin's "The Arcadian shepherds" by Louis MarinSculpture in the expanded field by Rosalind KraussWhat is an author? by Michel FoucaultThe allegorical impulse : toward a theory of postmodernism by Craig OwensMapping the postmodern by Andreas HuyssenThe art historical canon : sins of omission by Nanette SalomonSexuality andbyin representation : five British artists by Lisa TicknerNo essential femininity by Mary Kelly and Paul SmithPostfeminism, feminist pleasures, and embodied theories of art by Amelia JonesThe temptation of new perspectives by Stephen MelvilleThe origin of the work of art by Martin HeideggerThe still life as a personal object : a note on Heidegger and van Gogh by Meyer SchapiroRestitutions of the truth in pointing ["pointure"] by Jacques DerridaOrientalism and the exhibitionary order by Timothy MitchellThe art museum as ritual by Carol DuncanInventing the "postcolonial" : hybridity and constituency in contemporary curating by Annie E. CoombesRemaking passports : visual thought in the debate on multiculturalism by Néstor García CancliniThe art of art history by Donald Preziosi

    Fifteenth-century handbook, written by a working artist of the day, reveals secrets and techniques of the masters in drawing, oil painting, frescoes, panel painting, gilding, casting, more. Direct link to artists of the Middle Ages. Translation and Introduction by D. V. Thompson. "Delightful flavor..." — N.Y. Herald Tribune.

    The sixth edition presents new archaeological evidence and historical studies and offers the most extensive revisions of this classic work to date. The result is the most thorough and incisive study of the origins and development of ancient Maya civilization ever published.

    A German princess who married a decadent and lazy Russian prince, Catherine mobilized support amongst the Russian nobles, playing off of her husband's increasing corruption and abuse of power. She then staged a coup that ended with him being strangled with his own scarf in the halls of the palace, and she being crowned the Empress of Russia.Intelligent and determined, Catherine modeled herself off of her grandfather in-law, Peter the Great, and sought to further modernize and westernize Russia. She believed that the best way to do this was through a ravenous acquisition of art, which Catherine often used as a form of diplomacy with other powers throughout Europe. She was a self-proclaimed "glutton for art" and she would be responsible for the creation of the Hermitage, one of the largest museums in the world, second only to the Louvre. Catherine also spearheaded the further expansion of St. Petersburg, and the magnificent architectural wonder the city became is largely her doing. There are few women in history more fascinating than Catherine the Great, and for the first time, Susan Jaques brings her to life through the prism of art.

    Featuring more than 150 activities, this guide teaches the styles, works, and techniques of the great masters—Van Gogh, Michelangelo, Rembrandt, and more—through innovative, hands-on, open-ended activities for children Kindergarten through Middle School (ages 6 to 13).

    For good and for evil, religion is the single greatest influence in the world. We accept as self-evident that competing economic systems (capitalist or communist) or clashing political parties (Republican or Democratic) propose very different solutions to our planet's problems. So why do we pretend that the world's religious traditions are different paths to the same God? We blur the sharp distinctions between religions at our own peril, argues religion scholar Stephen Prothero, and it is time to replace naÏve hopes of interreligious unity with deeper knowledge of religious differences. In Religious Literacy, Prothero demonstrated how little Americans know about their own religious traditions and why the world's religions should be taught in public schools. Now, in God Is Not One, Prothero provides readers with this much-needed content about each of the eight great religions. To claim that all religions are the same is to misunderstand that each attempts to solve a different human problem. For example: –Islam: the problem is pride / the solution is submission –Christianity: the problem is sin / the solution is salvation –Confucianism: the problem is chaos / the solution is social order –Buddhism: the problem is suffering / the solution is awakening –Judaism: the problem is exile / the solution is to return to God Prothero reveals each of these traditions on its own terms to create an indispensable guide for anyone who wants to better understand the big questions human beings have asked for millennia—and the disparate paths we are taking to answer them today. A bold polemical response to a generation of misguided scholarship, God Is Not One creates a new context for understanding religion in the twenty-first century and disproves the assumptions most of us make about the way the world's religions work.

    This engaging, accessible companion volume to a long-awaited exhibition guides readers through the highlights of the collection as if they were wandering the historic rooms themselves. A lavish plate section features 35 works, each accompanied by texts that explore its historical provenance and individual significance. Curatorial essays describe the building's founder, Count Johan Maurits, and his experience as a Dutch colonist in the New World; the formation of the collection; and also recent discoveries about the materials and techniques employed by these great artists. Fans of Vermeer's iconic masterpiece will delight in discovering that it is one of many beautiful artworks in the Mauritshuis's elegant rooms.

       • Close-up focus on 22 masterpieces, from Ancient Greek sculpture to 1960s Pop Art.    • Well-known icons along with lesser-known gems — carefully chosen to illuminate the points made in the text.    • Features on major schools and movements to explore and explain their stylistic trademarks, characteristics, and favored subjects. Art: A Visual History is a knowledgeable, thought-provoking, and accessible tour of the creators of Western art.

    He stood for Modernism but he also embodied tradition. His pictures polarized and divided the art-loving world. The press and general public alike were split over the question: For or against Klimt? This monograph explores Klimt’s oeuvre with particular emphasis upon such contemporary voices. With a complete catalogue of his paintings, including new photographs of the Stoclet Frieze commissioned exclusively for this book, it examines the reactions to Klimt’s work throughout his career. Subjects range from Klimt’s portrayal of women to his adoption of landscape painting. The theory that Klimt was a man of few words who rarely put pen to paper is also dispelled with the inclusion of 179 letters, cards, writings, and other documents from the artist.Contributing authors: Evelyn Benesch, Marian Bisanz-Prakken, Rainald Franz, Anette Freytag, Christoph Grunenberg, Hansjörg Krug, Susanna Partsch, Angelina Pötschner, and Michaela ReichelThe Editor and Author:Tobias G. Natter is an internationally acknowledged expert on art in “Vienna around 1900.” For many years he worked at the Austrian Belvedere Gallery in Vienna, latterly as head curator. He also worked as guest curator at the Tate Liverpool, the Neue Galerie New York, the Hamburger Kunsthalle, the Schirn in Frankfurt am Main, and the Jewish Museum in Vienna. From 2006 to 2011, he directed the Vorarlberg Museum in Bregenz, and from 2011 to 2013 was director of the Leopold Museum in Vienna. In 2014 he founded Natter Fine Arts, which specializes in assessing works of art and developing exhibition concepts. He is the author of TASCHEN’s Gustav Klimt: The Complete Paintings; Art for All: The Colour Woodcut in Vienna around 1900; and Egon Schiele: The Complete Paintings, 1909–1918.Details:Gustav Klimt: The Complete PaintingsTobias G. NatterHardcover with fold-outs, 29 x 39.5 cm, 676 pagesISBN 978-3-8365-2795-8Edition: EnglishSUZY MENKES:“Surely TASCHEN’s Klimt: The Complete Paintings. Each unfolding page — with its strokeable surface of intense paintwork and its meld of Byzantine imagery and Venetian mosaics — brings to life the exotic eroticism of an exceptional artist.”

    By carefully examining the context in which sculptures and paintings were produced, author Robin Osborne shows how artists responded to the challenges they faced in the formidable and ambitious world of the Greek city-state, producing the rich diversity of forms apparent in Greek art. Artistic developments of the period combined the influences of the symbolism and imagery of eastern Mediterranean art with the explorations of humanity embodied in the narratives of Greek poetry, while drawings and sculptures referred so intimately to the human form as to lead both ancient and modern theorists to talk in terms of the 'mimetic' role of art. Ranging widely over the fields of sculpture, vase painting, and the minor arts, and offering a wide selection of unusual images alongside the familiar masterpieces, this work discusses the changing forms of art, and how art was used to define men's relationships with other men, women, slaves, society, nature, and the gods.

    The monetary value is estimated at over half a billion dollars. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and frank interviews, Felch and Frammolino give us a fly-on-the-wall account of the inner workings of a world-class museum and tell the story of the Getty’s dealings in the illegal antiquities trade. The outlandish characters and bad behavior could come straight from the pages of a thriller—the wealthy recluse founder, the cagey Italian art investigator, the playboy curator, the narcissist CEO—but their chilling effects on the rest of the art world have been all too real, as the authors show in novelistic detail. Fast-paced and compelling, Chasing Aphrodite exposes the layer of dirt beneath the polished façade of the museum business.

    This book offers a fresh perspective on various developments shaping our cultural history.