Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    In entirely new photographs taken especially for this book by two leading architectural photographers under the direction of co-editor David Larkin, such internationally famous buildings as the Solomon R. Guggenheim Museum and Fallingwater and Wright's homes Taliesin, Taliesin West, and the Oak Park Home and Studio are seen afresh, benefiting from the photographers' special access. Several lesser-known residences, such as Auldbrass Plantation in South Carolina, an array of wooden buildings that is Wright's American alternative to antebellum architecture, the William H. Winslow house in River Forest, Illinois, one of the architect's earliest and most surprisingly decorative houses, and the Kenneth Laurent house in Rockford, Illinois, a masterful curvilinear design, are seen in full color and demonstrate dimensions of Wright's work less often seen before. Public buildings, such as the dramatic concrete, glass, and steel Marin County Civic Center and Beth Sholom Synagogue show Wright as engineering virtuoso as well as creative architect. In addition to these existing masterworks, only the most famous of which are open to the public, the book covers buildings that have been demolished, notably the Larkin Company Administration Building, Midway Gardens, and the Imperial Hotel, which are represented here by drawings and rich archival photographs. Each of the buildings is presented from conceptual sketch, plan, or drawing to finished masterwork, andeach is accompanied by an in-depth essay detailing the development of the work. Extensive quotes from Wright's writings, unpublished talks, and private letters to the clients give valuable insight into the architect's own thinking about each commission. Never before has Wright's architecture been presented so elaborately in one volume.

    van Rijn (1606-1669) was one of the most complex and multi-faceted artists of the 17th century. From his initial period in Leiden to his earlier and later phases in Amsterdam, the stages of Rembrandt's career mirror the artistic and intellectual developments of the century. After breaking off his studies in Leiden, the young Rembrandt trained as a painter for two years and eventually established his own painting workshop. Characteristic of the Leiden period are his biblical histories, such as The Raising of Lazarus, but the roots of Rembrandt's portraiture, nourished by his intensive studies of physiognomy, also are to be found in these same years. Later, in Amsterdam, the perfection of Rembrandt's likenesses initially won him the favor of numerous patrons- but the artist soon surpassed their expectations. Transcending traditional modes of presentation, Rembrandt composed his portraits in the same manner he had earlier constructed his scenes. The results are visible, for example, in the famous group portrait The Anatomy Lesson of Dr. Nicolaes Tulp from 1632. In the last phase of Rembrandt's work - when, plagued by financial problems, he had withdrawn into seclusion - it is no longer possible to distinguish between event paintings and portraits.

    Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture. 8 illustrations.

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    Much of Indian art is immediately accessible to the outsider, but much is also enigmatic, needing interpretation and guidance before it can be enjoyed in depth: the strange pantheon of the Hindu gods, the subtle insights of Buddhist mysticism, or the complex symbolism of the miniatures. For this edition, the late Professor Craven thoroughly revised the text and incorporated works by contemporary artists, linking their achievements to the traditions of Indian art. A new glossary and time line are also included.

    This book brings together twelve years of photographic works dedicated to the architecture of Antoni Gaudi."

    Simply constructed, the book explores 50 key works, from the wall paintings of Lascaux to Damien Hirst installations, and then links these to sections on art movements, themes and techniques.The design of the book allows the student or art enthusiast to easily navigate their way around key periods, artists and styles. Accessible and concise, it simplifies and explains the most important and influential concepts in art, and shows how they are connected. The book explains how, why and when art changed, who introduced certain things, what they were, where they were produced, and whether they matter. It demystifies artistic jargon, giving readers a thorough understanding and broad enjoyment of art.'Susie Hodge has culled through hundreds of art movements to highlight and present 36 that illustrate transitions of art, its ideas, representations, characteristics, and production from Prehistoric times up to the dynamic shifts of the 1960s and '70s. As complex as art history is, this book is a welcome, succinct introduction to some classic Western masters.' Cindy Helm, New York Journal of Books'Excellent introduction to the subject. A good quality book, tightly bound, and well illustrated.'– Colin, Amazon reviewer 'The Short Story of Art is an attractive volume that serves as a convenient introduction to major movements, works, themes, and techniques of Western art. The works within are featured more for their seminal or illustrative nature than their fame per se, so the "story" part of the title is apt. The cross referencing and "Other works by…" sections makes it clear that this book is encouraging the reader to explore art on his own.' –Tommy Grooms, Goodreads reviewer

    Escher was born in 1898 in Leeuwarden (Netherlands). He received his first drawing lessons during secondary school from F.W. van der Haagen, who also taught him the block printing, thus fostering Escher's innate graphic talents. From 1912 to 1922 he studied at the School of Architecture and Ornamental Design in Haarlem, where he was instructed in graphic techniques by S. Jessurun de Mesquita, who greatly influenced Escher's further artistic development. Between 1922 and 1934 the artist lived and worked in Italy. Afterwards Escher spent two years in Switzerland and five in Brussels before finally moving back to Barn in Holland, where he died in 1972. M.C. Escher is not a surrealist drawing us into his dream world, but an architect of perfectly impossible worlds who presents the structurally unthinkable as though it were a law of nature. The resulting dimensional and perspectival illusions bring us into confrontation with the limitations of our sensory perception. About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    He knows where priceless antiquities are buried, who is digging them up, and who is fencing and buying them. In this fascinating book, Atwood takes readers on a journey through Iraq, Peru, Hong Kong, and across America, showing how the worldwide antiquities trade is destroying what's left of the ancient sites before archaeologists can reach them, and thus erasing their historical significance. And it is getting worse. The discovery of the legendary Royal Tombs of Sipan in Peru started an epidemic. Grave robbers scouring the courntryside for tombs--and finding them. Atwood recounts the incredible story of the biggest piece of gold ever found in the Americas, a 2,000-year-old, three-pound masterpiece that cost one looter his life, sent two smugglers to jail, and wrecked lives from Panama to Pennsylvainia. Packed with true stories, this book not only reveals what has been found, but at what cost to both human life and history.

    A study of the surrealist movement which traces its development and examines the work and thoughts of its major artists.

    Deployed today to celebrate subjects as various as the grandeur of art, the beauty of the human form, and the universality of the human spirit, the drawing turns up just about everywhere: in books, on coffee cups, on corporate logos, even on spacecraft. It has, in short, become the world’s most famous cultural icon—and yet almost nobody knows about the epic intellectual journeys that led to its creation. In this modest drawing that would one day paper the world, da Vinci attempted nothing less than to calibrate the harmonies of the universe and understand the central role man played in the cosmos.Journalist and storyteller Toby Lester brings Vitruvian Man to life, resurrecting the ghost of an unknown Leonardo. Populated by a colorful cast of characters, including Brunelleschi of the famous Dome, Da Vinci’s Ghost opens up a surprising window onto the artist and philosopher himself and the tumultuous intellectual and cultural transformations he bridged. With sparkling prose and a rich variety of original illustrations, Lester captures the brief but momentous time in the history of western thought when the Middle Ages gave way to the Renaissance, art and science and philosophy converged as one, and all seemed to hold out the promise that a single human mind, if properly harnessed, could grasp the nature of everything.

    Its profound impact not only on art historians and theorists but also for generations of creative writers and intellectuals is almost unprecedented. Starting from the notion that beauty derives from our sense of being able to identify with an object, Worringer argues that representational art produces satisfaction from our objectified delight in the self, reflecting a confidence in the world as it is as in Renaissance art. By contrast, the urge to abstraction, as exemplified by Egyptian, Byzantine, primitive, or modern expressionist art, articulates a totally different response to the world: it expresses man s insecurity. Thus in historical periods of anxiety and uncertainty, man seeks to abstract objects from their unpredictable state and transform them into absolute, transcendental forms. Abstraction and Empathy also has a sociological dimension, in that the urge to create fixed, abstract, and geometric forms is a response to the modern experience of industrialization and the sense that individual identity is threatened by a hostile mass society. Hilton Kramer s introduction considers the influence of Worringer s thesis and places his book in historical context."

    With imagination and insight, the author brings Impressionism into focus by showing it through the eyes of the artists and their contemporaries, using letters, critical reviews and reminiscences of the people who were part of the story. As we see in Bernard Denvir's compelling survey, the Impressionists had new ways of painting, but they also had a new world to paint: a world of stream tricycles, emergent photography, and modern ideas about perception. 195 illus., 17 in color.

    But seething below this surface is a long and shadowy history of corruption, cruelty, and the generally bizarre. For centuries it has been overrun by waves of invaders, all contributing their own questionable bits of culture, and all wantonly adding to the confusion. So, how is a poor visitor supposed to make sense of this anarchic place? Co-creator of the cult favorite Paris Out of Hand, Barbara Hodgson has neatly brushed away the chaos and assembled an eclectic treasury of forgotten and overlooked oddities: long-lost popes, bloodthirsty mercenaries, tempestuous artists, and inexplicable follies. Italy Out of Hand is not a traditional guidebook, with hotel addresses and hours of operation. Rather, it is an idiosyncratic tour of a country that is too overwhelming and extravagant for most of us to comprehend without a little guidance. Illustrated with an equally eclectic selection of photographs, portraits, and art, Italy Out of Hand is the perfect companion for those who like their truths to be stranger than fiction.