Gropius traces the rise of the New Architecture and the work of the now famous Bauhaus and, with splendid clarity, calls for a new artist and architect educated to new materials and techniques and directly confronting the requirements of the age.

    What kind of man had this haunting vision, and what kind of life engendered this art? No one is better qualified to answer these questions than art historian Gail Levin, author and curator of the major studies and exhibitions of Hopper's work. In this intimate biography she reveals the true nature and personality of the man himself—and of the woman who shared his life, the artist Josephine Nivison.

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

    Containing 150 recent photographs by the American photographer William Eggleston, this volume provides a sequence of images which form an almost autobiographic narrative, beginning with pictures of Eggleston's home territory in the Mississippi Delta and radiating out across the USA.

    His ruminations range from his obsession with theater to his concept of architecture as ritual. The illustrations--photographs, evocative images, as well as a set of drawings of Rossi's major architectural projects prepared particularly for this publication--were personally selected by the author to augment the text.

    His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.

    Arranged chronologically for easy reference and illustrated throughout with artwork, photographs, and documents, this is a information-packed overview of the lives and legacies of America's first ladies. What's more, The First Ladies Fact Book features selections of the most intimate correspondence of all the first ladies. Delightful surprises abound, including little-known information about the women's hobbies, styles of dress, habits of socializing, and quirks. With more than 700 photographs and illustrations, this is a eye-catching history of the nation's first ladies.

    An intimate photographic tour of Edward Gorey's strange and wonderful house.

    The culmination of a lifetime of aesthetic investigation, Aesthetic Theory is Theodor W. Adorno's magnum opus, the clarifying lens through which the whole of his work is best viewed, providing a framework within which his other major writings cohere.

    Nicknamed by their mentor, the famous illustrator Howard Pyle, The Red Rose Girls lived and worked at a picturesque former inn of the same name in an idyllic suburb on Philadelphia's Main Line. In the course of their years together they formed intimate bonds of friendship and love and enriched each other's professional lives by sharing ideas and inspiration. Smith and Green were prolific illustrators, celebrated for their work in children's books and periodicals such as Scribner's, Collier's, Harper's; and Oakley was a painter and muralist of national reputation whose work graces the interior of the Pennsylvania State Capitol in Harrisburg. Full-color illustrations and wonderful period photographs bring their work and milieu to life.

    Humans are creative; it is a quality embedded in the fabric of our being, and a reality that reflects our existence as being made in the image of God.This book is a compilation of our e-books Liturgy for Creatives and On Becoming Creative, and new reflections—encompassing Alabaster's lived experience as a creative company for the past two years. It is a first step, the beginning of a conversation that allows readers to engage their faith and creativity against the larger backdrop of the God who has made all that is made.

    The subject is presented, not as a foreign language, but as a native one that the student knows but cannot yet read.Responding to the need she so clearly perceives, Ms. Dondis, a designer and teacher of broad experience, has provided a beginning text for art and design students and a basic text for all other students; those who do not intend to become artists or designers but who need to acquire the essential skills of understanding visual communication at a time when so much information is being studied and transmitted in non-verbal modes, especially through photography and film. Understanding through seeing only seems to be an obviously intuitive process. Actually, developing the visual sense is something like learning a language, with its own special alphabet, lexicon, and syntax. People find it necessary to be verbally literate whether they are writers: or not; they should find it equally necessary to be visually literate, artists or not. This primer is designed to teach students the interconnected arts of visual communication. The subject is presented, not as a foreign language, but as a native one that the student knows but cannot yet read. The analogy provides a useful teaching method, in part because it is not overworked or too rigorously applied. This method of learning to see and read visual data has already been proved in practice, in settings ranging from Harlem to suburbia. Appropriately, the book makes some of its most telling points through visual means. Numerous illustrated examples are employed to clarify the basic elements of design (teach an alphabet), to show how they are used in simple syntactic combinations (See Jane run.), and finally, to present the meaningful synthesis of visual information that is a finished work of art (the apprehension of poetry...).

    The nearly 25,000-object collection comprises fashionable women’s and men’s garments and accessories from the 18th through the 20th century. It features sumptuous 19th-century gowns from the House of Worth, exquisite works by the great 20th-century French couturiers, iconic Surrealist-based designs of Elsa Schiaparelli, sportswear classics from pioneer American women designers, and the incomparable draped and tailored creations of Charles James.In 2009, the Brooklyn Museum and The Metropolitan Museum of Art entered into a groundbreaking long-term partnership to steward Brooklyn’s collection. The objects were transferred to The Costume Institute at the Metropolitan, with Brooklyn maintaining curatorial access. Exhibitions of costumes from the collection will be held at both institutions in early May 2010.

    I have answered so many questions and I am so confused I don't know one thing from another. I am telling you just as nearly as I know.” – Lizzie Borden “I knew there was an old axe down cellar; that is all I knew.” – Lizzie Borden “Lizzie Borden took an axe, and gave her mother forty whacks, when she saw what she had done, she gave her father forty-one.” Like so many others, this ditty and similar ones sacrificed accuracy in the name of rhyme and rhythm, as Abby and Andrew Borden were not hit 81 times but “only” 29. Of course, that still proved to be more than enough to kill both of them and propel their daughter, Elizabeth, into infamy. Today, cases are often referred to as the trial of the century, but few could lay claim in the 19th century like Lizzie Borden’s in the wake of her parents’ murders. After all, the story included the grisly axe murders of wealthy socialites and a young daughter as the prime suspect. As Trey Wyatt, author of The Life, Legend, and Mystery of Lizzie Borden, put it, “Women were held to strict standards and genteel women were pampered, while at the same time they were expected to behave within a strict code of conduct. In 1892, Fall River, Massachusetts wealthy society ladies were not guilty of murder, and if they did kill someone, it would not be with an axe.” When questioned, Lizzie gave contradictory accounts to the police, which ultimately helped lead to her arrest and trial, but supporters claimed it may have been the effects of morphine that she had a prescription to take. Much like subsequent famous murder cases, such as the O.J. Simpson case or Leopold & Loeb, Lizzie Borden’s trial garnered national attention unlike just about anything that had come before. The case sparked Americans’ interest in legal proceedings, and as with Simpson, even an acquittal didn’t take the spotlight off the Borden case, which has been depicted in all forms of media ever since. Lizzie became a pariah among contemporaries who believed she’d escaped justice, and she remains the prime suspect, but the unsolved nature of the case has allowed other writers to advance other theories and point at other suspects. The Life and Trial of Lizzie Borden: The History of 19th Century America’s Most Famous Murder Case looks at the personal background of the Borden family and the shocking true crime that captivated America at the end of the 19th century. Along with pictures of important people, places, and events, you will learn about Lizzie Borden like never before, in no time at all.

    In July 1863 the regiment's eight-hundred-plus troops--young men from North Carolina's mountains, farmlands, and hamlets--were thrust into the firestorm of Gettysburg, the greatest battle ever fought in North America. By the time the fighting ended, the 26th North Carolina had suffered what some authorities would calculate to be the highest casualties of any regiment in the Civil War.Following a bone-wearying march into Pennsylvania with the rest of General Robert E. Lee's Army of Northern Virginia, the soldiers of the 26th found themselves in ferocious, almost face-to-face combat with some of the hardest-fighting troops in the Federal army--the heralded Iron Brigade. The bloody contest on McPherson's Ridge produced some of Gettysburg's fiercest fighting, and the troops involved--men from North Carolina, Michigan, and Indiana--established an enduring legacy of American fortitude and will.On Gettysburg's third day of battle, the 26th North Carolina was placed in the front ranks of Pickett's Charge. Following a massive artillery barrage, the tattered regiment was commanded to go the distance in what would prove to be the most famous assault of the war. At one point, as he watched the men of the 26th in battle, Brigadier General James J. Pettigrew dispatched a message to the regiment's commander: "Tell him his regiment haas covered itself with glory today."The story of the 26th North Carolina at Gettysburg is an American saga of duty performed in the worst of warfare. It unfolds through the lives of key characters--the regiment'stwenty-one year old commander, Colonel Henry K. Burgwyn, Jr.; its second-in-command, twenty-six-year-old farmer-turned-lieutenant colonel John R. Lane; twenty-two-year-old Major John Jones, who had abandoned his college studies to join the army; and common soldiers like Private Jimmie Moore, a North Carolina mountain boy who had gone to war at the age of fifteen."Covered In Glory is an intensely personal narrative based on exhaustive research into the diaries, letters, memoirs, and official records of the men who struggled on the bloody field at Gettysburg. It is a powerful, moving account of American courage and sacrifice.