Meticulously cleaned and restored by fine-press bookmaker Johnny Carrera, the engravings in Pictorial Webster's have been compiled into an alluring and unusual visual reference guide for the modern day. Images range from the entirely mysterious to the classically iconic. From Acorns to Zebras, Bell Jars to Velocipedes, these alphabetically arranged archetypes and curiosities create enigmatic juxtapositions and illustrate the items deemed important to the Victorian mind. Sure to inspire and delight, Pictorial Webster's is at once a fascinatinghistorical record and a stunning jewel of a book.

    Un retrato de una artista, sobre todo una artista.(Portrait of an artist, always an artist, above all an artist.)

    Americans embraced these visions and incorporated fantasy into reality: mid-century fashion, popular music, eating and drinking, and even architecture were influenced by the Tiki trend. With unfettered enthusiasm—ignoring scholarly authenticity and political correctness—American artisans molded the Tiki into their own image, creating a mid-century pop culture genre that was forgotten until the 2000s, when urban archeologist Sven Kirsten wrested the figure of the Tiki from obscurity with his pioneering TASCHEN books The Book of Tiki and Tiki Modern. This book traces the development of Tiki as romantic vision and kitschy cultural appropriation, from its earliest beginnings when James Cook “discovered” the Pacific Islands in the second half of the 18th century to Herman Melville’s South Sea adventure stories like Moby Dick and Gauguin’s exuberant, exotic paintings to the jungle fantasies of the Hollywood dream factory. Published in connection with an exhibition at the prestigious Musée du quai Branly in Paris, Tiki Pop the culmination of Sven Kirsten’s research efforts. With his widely lauded visual style, the author places venerable ancient godheads next to their Polynesian pop counterparts. With hundreds of previously unpublished images, the story of Tiki the 20th-century pop icon unfolds from its earliest beginnings to its spectacular downfall in the dawning awareness of the Western world’s colonial misdeeds.

    Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.'Julian Barnes began writing about art with a chapter on Géricault's The Raft of the Medusa in his 1989 novel A History of the World in 10½ Chapters. Since then he has written a series of remarkable essays , chiefly about French artists, for a variety of journals and magazines. Gathering them for this book, he realised that he had unwittingly been retracing the story of how art made its way from Romanticism to Realism and into Modernism.

    This handy, pocket-sized volume includes 900 illustrations and takes the reader on a whirlwind tour of the most spectacular works of art around the world and throughout time.

    In this extraordinary book Julia Blackburn follows Goya through the remaining thirty-five years of his life. It was a time of political turmoil, of war, violence and confusion, and Goya transformed what he saw happening in the world around him into his visionary paintings, drawings and etchings.These were also years of tenderness for Goya, of intimate relationships with the Duchess of Alba and with Leocadia, his mistress, who was with him to the end. Julia Blackburn writes of the elderly painter with the intimacy of an old friend, seeing through his eyes and sharing the silence in his head, capturing perfectly his ferocious energy, his passion and his genius.

    If you were fat your doc said: "You eat too much." Calorie consumption hit an all-time low. A 25” waist was a clothing size 10. High fructose corn syrup consumed: None.Today: Women of all ages are, on average, overweight. Obesity is now a “disease.” Calorie consumption is at an all-time high. A 25” waist is closer to a clothing size “zero." High fructose corn syrup consumed: 76% of corn sweeteners.Is it really true that American women didn’t get fat in the 1950s? Detailed gender-specific data wasn’t published during the 50s, but an early 1960s government sponsored survey revealed that women aged 20 - 29 were, on average, a little over thirty-four pounds lighter than women in the same age bracket today! Women aged 30 - 39 were about thirty pounds lighter! It's true that women are taller today than the 50s, but not enough to explain the gain. In 1960 the average American woman was 63.1." Today she is 63.8."What did women know or practice back then that kept them immune from an obesity epidemic? Could it be a matter of simply not consuming high fructose corn syrup or fast food? Not so fast. The root of the problem is far more expansive!In this ebook you will be given access to many of the 50s slimming secrets women knew. It reveals pre-BMI medical metrics for healthy weight and eating which were far more stringent and based upon medical studies instead of comparing people to a norm. Also included are vintage US government food recommendations and an examination of the psychological climate and marketing practices to women in the 50s. You’ll find suggestions for integrating “outdated” healthy practices and attitudes into your diet to combat and replace the toxic practices and processed foods prevalent today often mistaken for “progress.” This heavily researched ebook contains over seventy linked citations and scans of vintage source materials."Diet" literally means "the kinds of food that a person, animal, or community habitually eats," and by applying the 1950s diet to her own life author Averyl Hill lost sixteen pounds and four inches around her waist and has kept it off years later. She didn’t join a gym or spend money on branded, pre-packaged diet foods or pills, nor did she start wearing a string of pearls and heels while dusting her home. Going backwards can mean forward thinking!Please note that this book does not contain recipes, nor is it a specific, prescribed diet plan. It gives you tools to help facilitate healthy choices about how you eat, move and think about food, weight-loss and overall fitness. Unlike fad weight loss diets today that haven't made us any slimmer, the 1950s diet worked for millions of American women-- a decade of hard evidence is hard to dispute-- and we can learn to adopt it again today!

    This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper. It includes 125 reproductions of Avedon's greatest work from the entire range of his oeuvre--including fashion photographs, reportage and portraits--and spans from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star Bjork. It also features a small number of color images, including what must be one of the most famous photographic portraits of the twentieth century, -Nastassja Kinski and the Serpent- (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer a sophisticated and thorough composite view of Avedon's career.

    Or do they? This biography conveys the well-known and the lesser-known facts about Orville and Wilbur's lives, and does so by weaving the biographical information into a wonderful story. The evocative illustrations combine with the storytelling prowess of Lewis Helfand to relate the Wright Brothers' joint biography in a way never done before.

    The writings include text from the infamous performances that brought her to the Supreme Court in Finley vs. NEA, a battle that became a mainstay of the culture wars and which has made Finley an icon in the struggle for freedom of speech. Included in this volume will be the never before published, Obie Award-winning The American Chestnut for which she received a Guggenheim; such works as We Keep Our Victims Ready, A Certain Level of Denial, The Return of the Chocolate Smeared Woman, and an excerpt from her forthcoming film Shut Up and Love Me. Also appearing will be previously unpublished short stories, photos, artwork, and an essay on censorship. In 1998 Finley was named Woman of the Year by MS. magazine; she posed for Playboy the following year. She has appeared in numerous films including Philadelphia, and will soon be directing her own first feature film, Shut Up and Love Me, produced by Forensic Films. She has recorded albums including a collaboration with Sinead O'Connor. Finley is a regular on Politically Incorrect and can be seen giving her opinions on Exhale, a new show hosted by Candace Bergen on Oxygen. She will be hosting The Naked Players, a "nude Candid Camera" as well as Shock Video, both on HBO. Finley has written four books: Shock Treatment, Enough Is Enough, Living It Up, and Pooh Unplugged. "We need Finley: she doesn't duck the bullets, she keeps her eyes peeled on the artillery aimed at women, and she continues to push against her own boundaries as an artist" -- MS. Magazine

    Three years later he was in Naples, where he painted The Seven Acts of Mercy. A year later he died at the age of thirty-eight under mysterious circumstances. Exploring Caravaggio's singular masterwork, in The Guardian of Mercy Terence Ward offers an incredible narrative journey into the heart of his artistry and his metamorphosis from fugitive to visionary.Ward's guide in this journey is a contemporary artist whose own life was transformed by the painting, a simple man named Angelo who shows him where it still hangs in a small church in Naples and whose story helps him see its many layers. As Ward unfolds the structure of the painting, he explains each of the seven mercies and its influence on Caravaggio's troubled existence. Caravaggio encountered the whole range of Naples's vertical social layers, from the lowest ranks of poverty to lofty gilded aristocratic circles, and Ward reveals the old city behind today's metropolis. Fusing elements of history, biography, memoir, travelogue, and journalism, his narrative maps the movement from estrangement to grace, as we witness Caravaggio's bruised life gradually redeemed by art.

    Through his street roots in graffiti, Basquiat helped to establish new possibilities for figurative and expressionistic painting, breaking the white male stranglehold of Conceptual and Minimal art, and foreshadowing, among other tendencies, Germany's Junge Wilde movement. It was not only Basquiat's art but also the details of his biography that made his name legendary--his early years as "Samo" (his graffiti artist moniker), his friendships with Andy Warhol, Keith Haring and Madonna and his tragically early death from a heroin overdose. This superbly produced retrospective publication assesses Basquiat's luminous career with commentary by, among others, Glenn O'Brien, and 160 color reproductions of the work.Jean-Michel Basquiat was born in Brooklyn, New York, to a Puerto Rican mother and a Haitian father--an ethnic mix that meant young Jean-Michel was fluent in French, Spanish and English by the age of 11. In 1977, at the age of 17, Basquiat took up graffiti, inscribing the landscape of downtown Manhattan with his signature "Samo." In 1980 he was included in the landmark group exhibition The Times Square Show; the following year, at the age of 21, Basquiat became the youngest artist ever to be invited to Documenta. By 1982, Basquiat had befriended Andy Warhol, later collaborating with him; Basquiat was much affected by Warhol's death in 1987. He died of a heroin overdose on August 22, 1988, at the age of 27.

    Yet behind this triumph lay struggle, heartbreak, bitterness, frustration, lost love, exile—and above all the miracle of survival.Born into near poverty in Russia in 1887, the son of a Jewish herring merchant, Chagall fled the repressive “potato-colored” tsarist empire in 1911 for Paris. There he worked alongside Modigliani and Léger in the tumbledown tenement called La Ruche, where “one either died or came out famous.” But turmoil lay ahead—war and revolution; a period as an improbable artistic commissar in the young Soviet Union; a difficult existence in Weimar Germany, occupied France, and eventually the United States. Throughout, as Jackie Wullschlager makes plain in this groundbreaking biography, he never ceased giving form on canvas to his dreams, longings, and memories. His subject, more often than not, was the shtetl life of his childhood, the wooden huts and synagogues, the goatherds, rabbis, and violinists—the whole lost world of Eastern European Jewry. Wullschlager brilliantly describes this world and evokes the characters who peopled it: Chagall’s passionate, energetic mother, Feiga-Ita; his eccentric fellow painter and teacher Bakst; his clever, intense first wife, Bella; their glamorous daughter, Ida; his tough-minded final companion and wife, Vava; and the colorful, tragic array of artist, actor, and writer friends who perished under the Stalinist regime.Wullschlager explores in detail Chagall’s complex relationship with Russia and makes clear the Russian dimension he brought to Western modernism. She shows how, as André Breton put it, “under his sole impulse, metaphor made its triumphal entry into modern painting,” and helped shape the new surrealist movement. As art critic of the Financial Times, she provides a breadth of knowledge on Chagall’s work, and at the same time as an experienced biographer she brings Chagall the man fully to life—ambitious, charming, suspicious, funny, contradictory, dependent, but above all obsessively determined to produce art of singular beauty and emotional depth.Drawing upon hitherto unseen archival material, including numerous letters from the family collection in Paris, and illustrated with nearly two hundred paintings, drawings, and photographs, Chagall is a landmark biography to rank with Hilary Spurling’s Matisse and John Richardson’s Picasso.

    Decades ago, astronauts brought back 850 pounds of rocks from their lunar journeys; the U.S. gave some away as “goodwill” gifts to the world’s nations. Over time, many of them disappeared, stolen or lost in the aftermath of political turmoil, and offered for millions on the black market. Gutheinz, first as a NASA investigator and then the leader of a intrepid group of students, has dedicated his life to getting them back. Author Joe Kloc tells a wild story of geopolitics, crime, science, and one man’s obsession with keeping the moon out of the wrong hands.

    The Barnes Collection has been conservatively valued at more than $6 billion and includes some 69 Cézannes (more than in all the museums of Paris combined), 60 Matisses, 44 Picassos, 18 Rousseaus, 14 Modiglianis, and no fewer than 180 Renoirs. Yet the Barnes is in crisis. Its founder, Dr. Albert C. Barnes (1872), grew up in the slums of late-nineteenth-century Philadelphia only to become first a physician and later a pharmaceutical king. By 1920, this self-made man was already well on his way to becoming one of the great art collectors of his day. But this is also the story of Richard Glanton, who escaped poverty in rural Georgia to become a high-flying, politically powerful Philadelphia lawyer. It was Glanton who took the Barnes art on its celebrated worldwide tour, renovated the galleries-and presided over a decade of expensive litigation. The most famous of these court cases—this one in federal court—pitted the Barnes against its wealthy neighbors. The goal: A 52-car parking lot for the Barnes. The cost: more than $6 million in legal fees. Today, Glanton is no longer president of the Barnes, and the new board is seeking to move the collection into the city. Yet another court case will decide whether they can or not. The battle of the Barnes has only just begun. "Here, at long last, is the whole truth about the Dickensian legal tug-of-war—unimaginably tangled, unsparingly vicious, unprecedentedly cynical—that threatens the survival of one of the greatest private art collections of the twentieth century. From now on, anyone who seeks to understand the desperate plight of the Barnes Collection will have to start by reading this important book." —Terry Teachout, author of The Skeptic: A Life of H. L. Mencken "John Anderson has produced a riveting account of curators, trustees, and lawyers fighting for control of the world-famous Barnes Collection of French impressionist art from the 1950s to the present. Based on hundreds of revealing interviews, Art Held Hostage reads like a superb mystery novel: This gem of investigative reporting is a sure contender for the national best-seller lists." —Howard R. Lamar, Sterling Professor Emeritus of History, Yale University