From his legendary bayonet charge down the slopes of Little Round Top hill during the Battle of Gettysburg, to the startling calling of Union troops to salute as the defeated Confederate Army surrendered to him at Appomattox, Joshua Lawrence Chamberlain redefined the scale of greatness in this country. Wounded six times in battle, twice assumed to be a fatality, the volunteer officer from Maine continued to lead gallantly until the final shot was fired during the Civil War. Valor's Measure tells the death-defying tale of this Medal of Honor hero and captures his spirit as no autobiography can.

    This was, without doubt, the most celebrated cohabitation in art history: never, before or since have two such towering artistic talents been penned up in so small a space. They were the Odd Couple of art history. Predictably, the results were explosive. The dâenouement of their life together has entered into folklore. Two months after Gauguin arrived in Arles, Van Gogh suffered a psychological crisis. He spent most of the rest of his life in a mental institution. Gauguin fled from Arles, and they never saw each other again. But in the brief period during which they worked together a stream of masterpieces was created within the studio they shared. Here, for the first time, the full story of their life together is told.

    And yet, until about ten minutes ago I had no conception of its magnitude, its permanent beauty and its importance." —Franklin Delano Roosevelt, upon first viewing Mount Rushmore, August 30, 1936Now in paperback, The Carving of Mount Rushmore tells the complete story of the largest and certainly the most spectacular sculpture in existence. More than 60 black-and-white photographs offer unique views of this gargantuan effort, and author Rex Alan Smith—a man born and raised within sight of Rushmore—recounts with the sensitivity of a native son the ongoing struggles of sculptor Gutzon Borglum and his workers.

    There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work.Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”

    It is a wonderful place to visit and to live in. Packed with fact, anecdote, and insight, A Traveller’s History of Paris offers a complete history of Paris and the people who have shaped its destiny, from its earliest settlement as the Roman village of Lutetia Parisiorum with a few hundred inhabitants, to 20 centuries later when Paris is a city of well over two million—nearly one-fifth of the population of France. This handy paperback is fully indexed and includes a Chronology of Major Events, as well as sections on Notre-Dame and historic churches, Modernism, parks, bridges, cemeteries, museums and galleries, the Metro, and the environs. Illustrated with line drawings and historical maps, this is an invaluable book for all visitors to read and enjoy.

    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.

    This monograph follows Van Gogh between 1886 and 1890, from Holland to Paris, where his palette was brightened with impressionistic colour, to Arles and his still-mysterious friendship with Gauguin.

    After risking her life spying on the Nazis, day after day for four long years, Rose lived to fulfill her destiny: locating and returning tens of thousands of works of art stolen by the Nazis during their occupation of France. Yet her remarkable story, like much of her personal life, has remained unknown to the broad public…until now. This book, written by French Senator Corinne Bouchoux, was originally published in France in 2006. Ms. Bouchoux’s interest goes far beyond the wartime service of Rose Valland by delving into her personal life and post-war work to provide important insights about this fascinating and determined woman. Her research also proved helpful in confirming my understanding of the intense relationship between Rose Valland and the man who shared her wartime destiny, Monuments officer Lt. James Rorimer. The absence of books about Rose Valland in the English language has, until now, left us wondering how this ordinary woman mustered such courage to do extraordinary things even when, after the war, many in her own country simply wanted the story of Nazi looting to fade away and with it, Rose Valland’s contribution to history. It has therefore been an honor to translate and publish Corinne Bouchoux’s book and make it available to a much larger audience." - adapted from the book's forward written by Robert M. Edsel, author of The Monuments Men

    Art

    Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."One of Publishers Weekly's Best Nonfiction Books of 2013

    As an impressionable bride of seventeen who married a man more than twice her age, Grace's remarkable beauty (likened by journalists to "a May morning") soon attracted the attentions of other men. A disastrous liaison with a consummate rake not only branded Grace as a demi-rep - a woman with half a reputation - but the scandal provoked Dr. John Eliot, her philandering husband, to pursue a divorce.Grace became mistress of the most infamous peer in England, George James, Lord Cholmondeley, whose "secret perfections" were reputed to inspire "female enthusiasm." Cholmondeley commemorated the relationship by commissioning two works from eminent portraitist Thomas Gainsborough, first in 1778 and later in 1782, the same year Grace gave birth to a daughter, Georgiana (who may, in fact, have been the child of the Prince of Wales). Had Grace been an aristocrat, she and Cholmondeley might have had a future together, but it was not to be.The tabloids broke the news: "Miss Dalrymple has embarked for France, and it is said parted with her noble gallant." Grace was soon to find a new protector in that nation's richest man, Philippe, Duc d'Orleans. Though Grace was ensconced as "one of the most brilliant and popular among the fashionable 'impures,'" her liaison with the duke turned perilous when Orleans fell to the Revolution's guillotine, just as she narrowly escaped with her life."People die, but love may not," declares author Jo Manning of her subject's romantic and historic misadventures. A connoisseur of the times, Manning ably demonstrates - through contemporary newspapers, magazines, prints, and portraits as well as Grace's posthumously published journal - how life in George III's England and Marie Antoinette's France can seem strangely familiar, especially when history turns to affairs of the heart.

    An ambitious and enterprising farm girl, Alexandrie joins the prestigious Paris Opera ballet with hopes of securing not only her place in society but her family’s financial future. Her plan is soon derailed, however, when she falls in love with the enigmatic artist whose paintings of the offstage lives of the ballerinas scandalized society and revolutionized the art world. As Alexandrie is drawn deeper into Degas’s art and Paris’s secrets, will she risk everything for her dreams of love and of becoming the ballet’s star dancer?

    During the following ten years they were lovers, worked closely together and she became mother to two of his children, Claude and Paloma. Life with Picasso, her account of those extraordinary years, is filled with intimate and astonishing revelations about the man, his work, his thoughts and his friends - Matisse, Braque, Gertrude Stein and Giacometti, among others. Francois Gilot paints a compelling portrait of her turbulent life with the temperamental (and even abusive) genius that was Picasso. As one of the few intimate witnesses to Picasso as a human being and as an artist, her account of him is invaluable for assessing him on both counts.

    A peasant girl who hears voices from God. A warrior leading an army to victory, in an age that believes women cannot fight. The Maid of Orleans, and the saviour of France. Burned at the stake as a heretic at the age of just nineteen. Five hundred years later, a saint. Her case was heard in court twice over. One trial, in 1431, condemned her; the other, twenty-five years after her death, cleared her name. In the transcripts, we hear first-hand testimony from Joan, her family and her friends: a rare survival from the medieval world. What could be more revealing?

    While other girls played with toys and braided their hair, Georgia practiced her drawing and let her hair fly free. As an adult, Georgia followed her love of art from the steel canyons of New York City to the vast plains of New Mexico. There she painted all day, and slept beneath the stars at night. Throughout her life Georgia O'Keeffe followed her dreams--and so found her way to become a great American artist.