Telling Van Gogh’s story from an utterly new perspective—that of his personal physician, Dr. Gachet, specialist in mental illness and great lover of the arts—Wallace allows us to view the legendary painter as we’ve never seen him before.  In our narrator’s eyes, Van Gogh is an irresistible puzzle, a man whose mind, plagued by demons, poses the most potentially rewarding challenge of Gachet’s career.  Wallace’s narrative brims with suspense and rich psychological insight as it tackles haunting questions about Van Gogh’s fate. A masterly, gripping novel that explores the price of creativity, Leaving Van Gogh is a luminous story about what it means to live authentically, and the power and limits of friendship.

    Photographs.

    He was also a murderer and a braggart, a shameless adventurer who at different times experienced both papal persecution and imprisonment, and the adulation of the royal court. Inn-keepers and prostitutes, kings and cardinals, artists and soldiers rub shoulders in the pages of his notorious autobiography: a vivid portrait of the manners and morals of both the rulers of the day and of their subjects. Written with supreme powers of invective and an irrepressible sense of humour, this is an unrivalled glimpse into the palaces and prisons of the Italy of Michelangelo and the Medici.

    Art critics gave them the name "the School of Paris" to set them apart from the French-born (and less talented) young artists of the period. Modigliani and Chagall eventually attained enormous worldwide popularity, but in those earlier days most School of Paris painters looked on Soutine as their most talented contemporary. Willem de Kooning proclaimed Soutine his favorite painter, and Jackson Pollack hailed him as a major influence.Soutine arrived in Paris while many painters were experimenting with cubism, but he had no time for trends and fashions; like his art, Soutine was intense, demonic, and fierce. After the defeat of France by Hitler's Germany, the East European Jewish immigrants who had made their way to France for sanctuary were no longer safe. In constant fear of the French police and the German Gestapo, plagued by poor health and bouts of depression, Soutine was the epitome of the tortured artist. Rich in period detail, Stanley Meisler's Shocking Paris explores the short, dramatic life of one of the most influential artists of the twentieth century.

    But the historic landfall of October 1492 was only a secondary event of the year. The preceding January, they had accepted the surrender of Muslim Granada, ending centuries of Islamic rule in their peninsula. And later that year, they had ordered the expulsion or forced baptism of Spain's Jewish minority, a cruel crusade undertaken in an excess of zeal for their Catholic faith. Europe, in the century of Ferdinand and Isabella, was also awakening to the glories of a new age, the Renaissance, and the Spain of the "Catholic Kings" - as Ferdinand and Isabella came to be known - was not untouched by this brilliant revival of learning. Here, from the noted historian Malveena McKendrick, is their remarkable story.

    Anguished by the death of friends and discouraged by the loss of commissions to younger artists, this supreme painter and sculptor began carving his own tomb. It was at this unlikely moment that fate intervened to task Michelangelo with the most ambitious and daunting project of his long creative life.Michelangelo, God's Architect is the first book to tell the full story of Michelangelo's final two decades, when the peerless artist refashioned himself into the master architect of St. Peter's Basilica and other major buildings. When the Pope handed Michelangelo control of the St. Peter's project in 1546, it was a study in architectural mismanagement, plagued by flawed design and faulty engineering. Assessing the situation with his uncompromising eye and razor-sharp intellect, Michelangelo overcame the furious resistance of Church officials to persuade the Pope that it was time to start over.In this richly illustrated book, leading Michelangelo expert William Wallace sheds new light on this least familiar part of Michelangelo's biography, revealing a creative genius who was also a skilled engineer and enterprising businessman. The challenge of building St. Peter's deepened Michelangelo's faith, Wallace shows. Fighting the intrigues of Church politics and his own declining health, Michelangelo became convinced that he was destined to build the largest and most magnificent church ever conceived. And he was determined to live long enough that no other architect could alter his design.

    While Chanel mythologized her glamorous life through relentless self-invention, the bare facts of her biography are no less worthy than her legend: born of a poor family in the provinces and raised in a convent, she was an entertainer and the mistress of men of impeccable social standing, and she began her career not as a dressmaker but as a milliner.Chanel's enduring influence is necessarily based on the long shadow cast over fashion by her maison couture. Chanel examines the history of the House of Chanel both thematically and chronologically, introducing ideas and elements of biography as they were expressed in her collections. Period examples are juxtaposed with the work of Karl Lagerfeld, who, beginning in 1983, just over ten years after Chanel's death, reinvented and revolutionized the House's identity. It is in Lagerfeld's masterful and often irreverent interpretations of Chanel's work, as well as his mixing of influences from high and low culture, that the historic importance of Chanel and the resonance of her image as the independent, elegant modern woman are both defined and reasserted for the contemporary world.

    But as engineer Gustave Eiffel built the now-famous landmark to be the spectacular centerpiece of the 1889 World's Fair, he stirred up a storm of vitriol from Parisian tastemakers, lawsuits, and predictions of certain structural calamity. In Eiffel's Tower, Jill Jonnes, critically acclaimed author of Conquering Gotham, presents a compelling account of the tower's creation and a superb portrait of Belle Epoque France. As Eiffel held court that summer atop his one-thousand-foot tower, a remarkable host of artists and personalities-Buffalo Bill, Annie Oakley, Gauguin, Whistler, and Edison-traveled to Paris and the Exposition Universelle to mingle and make their mark. Like The Devil in the White City, Brunelleschi's Dome, and David McCullough's accounts of the building of the Panama Canal and the Brooklyn Bridge, Eiffel's Tower combines technological and social history and biography to create a richly textured portrayal of an age of aspiration, dreams, and progress.

    The drip paintings of Jackson Pollock, trailblazing Abstract Expressionist, appear to be the polar opposite of Thomas Hart Benton’s highly figurative Americana. Yet the two men had a close and highly charged relationship dating from Pollock’s days as a student under Benton. Pollock’s first and only formal training came from Benton, and the older man soon became a surrogate father to Pollock. In true Oedipal fashion, Pollock even fell in love with Benton’s wife.Pollock later broke away from his mentor artistically, rocketing to superstardom with his stunning drip compositions. But he never lost touch with Benton or his ideas—in fact, his breakthrough abstractions reveal a strong debt to Benton’s teachings. In an epic story that ranges from the cafés and salons of Gertrude Stein’s Paris to the highways of the American West, Henry Adams, acclaimed author of Eakins Revealed, unfolds a poignant personal drama that provides new insights into two of the greatest artists of the twentieth century.

    Ford put together a radio communications network for a nation that had up to this time relied on messages carried by foot over the highest mountains on the globe. More important, his radio connected the secluded nation to the outside world. When in October 1950 the Communist Chinese army began its march to subjugate Tibet, Ford risked his life by staying behind to send out reports over his radio to let the world know of the attack. The Radio Operator is an overdue and gripping recounting of Ford’s valiant effort to save Tibet from Chinese domination and his subsequent capture and imprisonment.James McGrath Morris is the author of the New York Times bestselling Eye on the Struggle as well as two other acclaimed biographies. His previous Kindle Single, Revolution by Murder, was selected as one of the Best Kindle Singles of 2014. His next book, The Ambulance Drivers, will be published in 2017.Cover design by Kerry Ellis.

     Founded in 1831 to fight France’s colonial wars without spilling French blood, this mysterious army is today a world-class fighting force. Training is so tough that five recruits out of six are rejected, never to wear the coveted white kepi. This is a world where fact exceeds the wildest fiction: men fighting literally to the last bullet at Camarón in Mexico in 1863; cooks and clerks with no parachute training volunteering to be dropped into beleaguered Dien Bien Phu in 1954 with the intention of dying beside their comrades; the paras who mutinied in Algeria to bring down the government of France; the heroes who dropped on Kolwezi to rescue thousands of European hostages. Praise for Douglas Boyd 'A tight and fascinating history of the nearly two centuries of the Legion's activities.' - Brig Anthony Hunter-Choat, the UK's senior ex-legionnaire Perhaps the greatest praise of the book is the fact that legionnaires liked this history of their incredible army so much that they elected author Douglas Boyd an honorary ex-legionnaire. RAF Russian linguist, international businessman, music impresario, BBC Television Producer/Director, Douglas Boyd has been writing full-time since setting up home in a medieval farmhouse in south-west France thirty-five years ago. His published fiction and non-fiction, translated into many languages, includes three novels set against a Legion background: The Eagle and the Snake, The Truth and the Lies, The Honour and the Glory.

    Governments have sought to control, censor, or bend art to their own purposes; artists have resisted and subverted such efforts. But what happens when artists work on behalf of a political program? When does art become propaganda? Is art tainted, diminished, or elevated by its political content?Toby Clark argues that propaganda art appears in many guises, and that the desire to persuade is not always at odds with aesthetic aims. He examines these many forms: the state propaganda of Nazi Germany, Fascist Italy, and Stalin's Soviet Union; democratic governments' representation of enemies in wartime; and anti-government protest art around the world, uncovering the complex rhetoric, high beauty, and ambiguous role of art that dwells in the political realm.

    Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

    From diverse backgrounds, they met at The Slade in London between 1908 and 1910, in what was later described as the school’s “last crisis of brilliance.” Between 1910 and 1918 they loved, talked, and fought; they admired, conspired, and sometimes disparaged each others’ artistic creations. They created new movements; they frequented the most stylish cafés and restaurants and founded a nightclub; they slept with their models and with prostitutes; and their love affairs descended into obsession, murder, and suicide.

    His illustrations for Scribner's Illustrated Classics (Treasure Island, Kidnapped, The Last of the Mohicans, The Yearling) are etched into the collective memory of generations of readers. He was hailed as the greatest American illustrator of his day. For forty-three years, starting in 1902, N.C. Wyeth painted landscapes, still lifes, portraits, and murals, as well as illustrations for a long shelf of world literature. Yet despite worldwide acclaim, he judged himself a failure, believing that illustration was of no importance.David Michaelis tells the story of Wyeth's family through four generations -- a saga that begins and ends with tragedy -- and brings to life the huge-spirited, deeply complicated man, and an America that was quickly vanishing.