Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities.That is an imaginary definition.'If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse?In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.

    It begins in October 1900, as a teenage Pablo Picasso, eager for fame and fortune, first makes his way up the hillside of Paris’s famous windmill-topped district. Over the next decade, among the studios, salons, cafés, dance halls, and galleries of Montmartre, the young Spaniard joins the likes of Henri Matisse, André Derain, Maurice de Vlaminck, Georges Braque, Amedeo Modigliani, Constantin Brancusi, Gertrude Stein, and many more, in revolutionizing artistic expression.Sue Roe has blended exceptional scholarship with graceful prose to write this remarkable group portrait of the men and women who profoundly changed the arts of painting, sculpture, dance, music, literature, and fashion. She describes the origins of movements like Fauvism, Cubism, andFuturism, and reconstructs the stories behind immortal paintings by Picasso and Matisse. Relating the colorful lives and complicated relationships of this dramatic bohemian scene, Roe illuminates the excitement of the moment when these bold experiments in artistic representation and performance began to take shape.A thrilling account, In Montmartre captures an extraordinary group on the cusp of fame and immortality. Through their stories, Roe brings to life one of the key moments in the history of art. Praise for In Montmartre "Lively and engaging….[Readers] will find a fresh sense of how all these people—the geniuses and the hangers-on, the wealthy collectors and the unworldly painters—related to each other…..In [Roe’s] entertaining, ingeniously structured account Roe brings Montmatre’s hedyday back to life." —Sunday Times (London) "With evocative imagery Roe sketches out the intensely visual spectacle on which Montmatre’s artistic community was able to draw…. Roe is particularly good at communicating the extraordinary devotion of Matisse and Picasso to their work." —Financial Times

    It is one of Europe's greatest treasures and its own story is full of drama and surprise. Who commissioned the tapestry? Was it Bishop Odo, William's ruthless half-brother? Or Harold's dynamic sister Edith, juggling for a place in the new court? Hicks shows us this world and the miracle of the tapestry's making: the stitches, dyes and strange details in the margins. For centuries it lay ignored in Bayeux cathedral until its 'discovery' in the eighteenth century. It became a symbol of power as well as art: townsfolk saved it during the French Revolution; Napoleon displayed it to promote his own conquest; the Nazis strove to make it their own; and its influence endures today. This marvellous book, packed with thrilling stories, shows how we remake history in every age and how a great work of art has a life of its own.

    Braudel's scope embraces the natural world and material life, economics, demography, politics, and diplomacy.

    Under the singular and brilliant lens that Ulrich brings to this study, ordinary household goods--Indian baskets, spinning wheels, a chimneypiece, a cupboard, a niddy-noddy, bed coverings, silk embroidery, a pocketbook, a linen tablecloth, a coverlet and a rose blanket, and an unfinished stocking--provide the key to a transformed understanding of cultural encounter, frontier war, Revolutionary politics, international commerce, and early industrialization in America. We discover how ideas about cloth and clothing affected relations between English settlers and their Algonkian neighbors. We see how an English production system based on a clear division of labor—men doing the weaving and women the spinning--broke down in the colonial setting, becoming first marginalized, then feminized, then politicized, and how the new system both prepared the way for and was sustained by machine-powered spinning.Pulling these divergent threads together into a rich and revealing tapestry of --the age of homespun,--Ulrich demonstrates how ordinary objects reveal larger economic and social structures, and, in particular, how early Americans and their descendants made, used, sold, and saved textiles in order to assert identities, shape relationships, and create history.

    How can your institution do it and do it well? The Participatory Museum is a practical guide to working with community members and visitors to make cultural institutions more dynamic, relevant, essential places. Museum consultant and exhibit designer Nina Simon weaves together innovative design techniques and case studies to make a powerful case for participatory practice. "Nina Simon's new book is essential for museum directors interested in experimenting with audience participation on the one hand and cautious about upending the tradition museum model on the other. In concentrating on the practical, this book makes implementation possible in most museums. More importantly, in describing the philosophy and rationale behind participatory activity, it makes clear that action does not always require new technology or machinery. Museums need to change, are changing, and will change further in the future. This book is a helpful and thoughtful road map for speeding such transformation." -Elaine Heumann Gurian, international museum consultant and author of Civilizing the Museum "This book is an extraordinary resource. Nina has assembled the collective wisdom of the field, and has given it her own brilliant spin. She shows us all how to walk the talk. Her book will make you want to go right out and start experimenting with participatory projects." -Kathleen McLean, participatory museum designer and author of Planning for People in Museum Exhibitions "I predict that in the future this book will be a classic work of museology." --Elizabeth Merritt, founding director of the Center for the Future of Museums

    "A useful, important book that reminds us, at the right time, how hard [European unity] has been, and how much care must be taken to avoid the terrible old temptations." --Los Angeles TimesDark Continent provides an alternative history of the twentieth century, one in which the triumph of democracy was anything but a forgone conclusion and fascism and communism provided rival political solutions that battled and sometimes triumphed in an effort to determine the course the continent would take.Mark Mazower strips away myths that have comforted us since World War II, revealing Europe as an entity constantly engaged in a bloody project of self-invention.  Here is a history not of inevitable victories and forward marches, but of narrow squeaks and unexpected twists, where townships boast a bronze of Mussolini on horseback one moment, only to melt it down and recast it as a pair of noble partisans the next.  Unflinching, intelligent, Dark Continent provides a provocative vision of Europ's past, present, and future-and confirms Mark Mazower as a historian of valuable gifts.

    Although both professed similar Enlightenment ideals of freedom, equality, and justice and set similar political agendas, there were also fundamental differences. The French sought a complete break with a thousand years of history; the Americans were content to preserve many aspects of their English heritage. Why did the two revolutions follow such different trajectories? And what lessons do they offer us about democracy today? In lucid narrative style, Dunn captures the personalities and lives of the great figures of both revolutions, and shows how their stories added up to make two very different events.

    Was the Battle of Hastings a French victory?Non! William the Conqueror was Norman and hated the French.Were the Brits really responsible for the death of Joan of Arc?Non! The French sentenced her to death for wearing trousers.Was the guillotine a French invention?Non! It was invented in Yorkshire.Ten centuries' worth of French historical 'facts' bite the dust as Stephen Clarke looks at what has really been going on since 1066 ...

    This critically acclaimed book has been translated into a dozen languages and remains a classic of children's literature and a touchstone for budding architects. Cathedral's numerous awards include a prestigious Caldecott Honor and designation as a New York Times Best Illustrated Book of the Year for Macaulay's intricate pen-and-ink illustrations.Journey back to centuries long ago and visit the fictional people of twelfth-, thirteenth-, and fourteenth-century Europe whose dreams, like Cathedral, stand the test of time.This title has been selected as a Common Core text exemplar (Grades 6–8, Informational Texts: Science, Mathematics, and Technical Studies).

    Gachet, ' was sold for the astonishing price of $82.5 million. This fascinating book reconstructs the painting's journey and becomes a rich story of modernism and the forces behind the art market. 'Portrait of Dr. Gachet' was one of van Gogh's last paintings, completed just weeks before his suicide. Depicting the eccentric physician who was attempting to treat the artist, this painting was viewed by van Gogh as a summation of his ideas about portraiture. Cynthia Saltzman's book reconstructs the journey of this revolutionary and haunting painting, in which, as van Gogh wrote, he strove to capture the 'heartbroken expression of our time.' As Saltzman superbly shows, this painting not only evokes the ethos of modern life but also illuminates the ways in which art, politics, and the market have intersected in the 20th century. Affected by broad social and cultural change, the painting's fate was also influenced by innovations in the way art was sold and displayed, and by the growing role of dealers and museums.

    It is difficult for us now, even with all our engineering and architectural skills, to imagine the extraordinary ways these medieval houses of worship were constructed. Midway through the twelfth century, the building of cathedrals became a crusade to erect awe-inspiring churches across Europe. In their zeal, bishops, monks, masons, and workmen created the architectural style known as Gothic, arguably Christianity’s greatest contribution to the world’s art and architecture. The style evolved slowly and almost accidentally as medieval artisans combined ingenuity, inspiration, and brute strength to create a fitting monument to their God. Here are the dramatic stories of the building of Saint-Denis, Notre Dame, Chartres, Reims, and other Gothic cathedrals.

    At its heart are the three Cartier brothers whose motto was "Never copy, only create".Francesca Cartier Brickell, whose great-grandfather was the youngest of the brothers, has traveled the world researching her family's history, tracking down those connected with her ancestors and discovering long-lost pieces of the puzzle along the way. Now she reveals never-before-told dramas, romances, intrigues, betrayals, and more.

     She is famous throughout the world, but how many know her name? You can admire her figure in Washington, Paris, London, New York, Dresden, or Copenhagen, but where is her grave? We know only her age, fourteen, and the work that she did--because it was already grueling work, at an age when children today are sent to school. In the 1880s, she danced as a "little rat" at the Paris Opera, and what is often a dream for young girls now wasn't a dream for her. She was fired after several years of intense labor; the director had had enough of her repeated absences. She had been working another job, even two, because the few pennies the Opera paid weren't enough to keep her and her family fed. She was a model, posing for painters or sculptors--among them Edgar Degas.Drawing on a wealth of historical material as well as her own love of ballet and personal experiences of loss, Camille Laurens presents a compelling, compassionate portrait of Marie van Goethem and the world she inhabited that shows the importance of those who have traditionally been overlooked in the study of art.

    From the Nazi purges of 'degenerate art' and Goering's shopping sprees in occupied Paris to the perilous journey of the 'Mona Lisa' from Paris and the painstaking reclamation of the priceless treasures of liberated Italy, The Rape of Europa is a sweeping narrative of greed, philistinism, and heroism that combines superlative scholarship with a compelling drama.The cast of characters includes Hitler and Goering, Gertrude Stein and Marc Chagall--not to mention works by artists from Leonardo da Vinci to Pablo Picasso.