During van Meegeren’s heyday as a forger of Vermeers, he earned 50 million dollars, the acclamation of the world’s press, and the satisfaction of swindling the Nazis. His canvases were so nearly authentic that they would almost certainly be prized among the catalogue of Vermeers if he had not confessed. And, no doubt, he never would have confessed at all if he hadn’t been trapped in a catch-22: he had thrived so noticably during the war that when it ended, he was quickly arrested as a Nazi collaborator. His only defense was to admit that he himself had painted the remarkable “Vermeers” that had passed through his hands—a confession the public refused to believe, until, in a huge media event, the courts staged the public painting of what would be van Meegeren’s last “Vermeer.” I Was Vermeer is an utterly gripping real-life mystery, capturing both the life of the consummate art forger, phenomenally skilled and yet necessarily unrecognized, and the equally fascinating work of the experts who identify forgeries and track down their perpetrators. Wry, amoral, irreverent, and plotted like a thriller, it is the first major book in forty years on this astonishing episode in history.

    In 1992, the year she completed her studies at Glasgow School of Art, her graduation exhibition sold out. Most notably, one painting was bought by Charles Saatchi and, since then, her international reputation has grown at a rapid and steady pace.Jenny Saville is described as a "New Old Master" for the technical proficiency of her oversize nudes that have earned her comparisons to Rubens and Lucian Freud and universal praise from critics and art historians alike. For the conceptual underpinnings of her work, she has been hailed as one of the most interesting artists of the last decade. Her work has been shown alongside that of Damien Hirst and the other Young British Artists in the acclaimed and seminal survey of new British art Sensation at the Royal Academy (London, 1997) and the Brooklyn Museum of Art (New York, 2000).This is the only monograph devoted to the critically acclaimed young artist and features all of Jenny Saville's paintings to date-including many previously unpublished. This volume is being published in association with the Gagosian Gallery in London. The power of her brilliant and relentless embodiment of our worst anxieties about our own corporeality and gender is what distinguishes Saville from other paint-obsessed representers of the naked human body. To my eye, no other artist in recent memory has combined empathy and distance with such visual and emotional impact. -Linda Nochlin, Art in America, March 2000

    Discusses the terms, movements, and major artists in the modern American and European art world.

    Now updated to include the results of new research, together with significant contributions from the 1990s. Includes writings by critics, philosophers, politicians and literary figures. The editors provide contextual introductions to 340 texts. Complements Art in Theory, 1648–1815 and Art in Theory, 1815–1900 to create a complete survey of the theories underpinning the development of art in the modern period.

    Includes: - informative essays by art luminaries Robert Williams, Carlo McCormick, and Larry Reid- Foreword by Kirsten Anderson- images from twenty-three of the movment's top artists including: Anthony Ausgang, Kalynn Campbell, The Clayton Brothers, Camille Rose Garcia, Liz McGrath, Niagara, The Pizz, Shag, Robert Williams, and Eric White

    Her story—the secretive nanny-photographer who became a pioneer photographer—has only been pieced together from the thousands of images she made and the handful of facts that have surfaced about her life. Vivian Maier: The Color Work is the largest and most highly curated published collection of Maier’s full-color photographs to date.With a foreword by world-renowned photographer Joel Meyerowitz and text by curator Colin Westerbeck, this definitive volume sheds light on the nature of Maier’s color images, examining them within the context of her black-and-white work as well as the images of street photographers with whom she clearly had kinship, like Eugene Atget and Lee Friedlander. With more than 150 color photographs, most of which have never been published in book form, this collection of images deepens our understanding of Maier, as its immediacy demonstrates how keen she was to record and present her interpretation of the world around her.

    The phantasmagoric imagery of Hieronymus Bosch (d. 1516) has been the source of widespread interest ever since the painter's lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch's work. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision.This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch's understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Silver's account of Bosch's artistic development is one of the first to benefit from recent technical investigations of the paintings, as well as from the reexamination of the artistGÇÖs drawings in relation to his paintings. Hieronymus Bosch is also unique in how securely it places its subject's work in the broader history of painting in the Low Countries: Silver identifies sources of BoschGÇÖs iconography in a wide range of fifteenth-century panel paintings, manuscript illuminations, and prints, and describes how, despite their own religiousness, Bosch's pictures helped inspire the secular landscape and genre scenes of later Netherlandish painters. Augmented by 310 illustrations, most in color, including many dramatic close-ups of BoschGÇÖs intricately imagined nightmare scenes, this is the definitive book on a perennially fascinating artist.

    In six chapters -- The Brucke Group of Artists, Northern German Expressionism, The Blaue Reiter, Rhenish Expressionism, The City and Expressionism in Vienna -- this publication deals with a specifically German artistic revolution, a phenomenon that has quite accurately been described as "the most significant German contribution to 20th century European art." Beside a number of famous names, including Beckmann, Heckel, Kandinsky, Kirchner, Kokoschka, Macke, Marc, Mueller, Nolde, Schiele, and Schmidt-Rottluff, the author also introduces several lesser-known artists, such as Campendonk, FelixMuller, Meidner, Morgner, Munter, and von Werefkin.

    Nita Leland brings logic and intuition together to create a foundation for color selections that allow you to be more inventive, break out of old habits and experiment with new colors. Her approach eliminates time-wasting trial and error while giving you the freedom to use color in personal, meaningful and exciting ways.Features:Artwork from more than 50 contributing artists that illustrates many personal approaches to color85 -Try It- activities that will help to develop your awareness of the colors and combinations that resonate with youStep-by-step demonstrations that show how 7 different artists choose palettes and make color decisions as they paint a range of subjectsLearn to use harmonious color schemes, dynamic contrasts and compatible colors to say what you want in your art. With engaging instruction, as well as art and lessons and applicable to any medium, this book will show you how to take your work to the next level.

    “A tantalizing whodunit” (Boston Globe) and a “riveting, wonderfully vivid account [that] takes you into the underworld of obsessed art detectives, con men, and thieves” (Jonathan Harr, author of The Lost Painting), The Gardner Heist is true crime history at its most spellbinding.

    In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.

    A thought-provoking examination of the nature of visual representation, it remains ever-relevant to all the visual arts.A well-known painter and printmaker, Dow taught for many years at Columbia University and acted as a mentor to countless young artists, including Georgia O'Keeffe. His text, presented in a workbook format, offers teachers and students a systematic approach to composition. It explores the creation of freely constructed images based on harmonic relations between lines, colors, and dark and light patterns. The author draws upon the traditions of Japanese art to discuss a theory of "flat" formal equilibrium as an essential component of pictorial creation. Practical and well-illustrated, this classic guide offers valuable insights into modern design.

    With Edward Lucie-Smith on Pop Art, Suzi Gablik on Minimal Art, Norbert Lynton on Expressionism, and Sarah Whitfield on Fauvism, to name a few, these scholarly essays illuminate each particular artistic movement of the century, and together form an entire history of modern art. 123 illus.

    Packed with wonderfully entertaining and often outrageous speculations about the nature of art, truth, and value, the world-renowned art forger--who died mysteriously before this book was published--details secrets of his techniques.

    Rockwell senior, who said he depicted life “as I would like it to be,” chronicled iconic visions of American life: the Thanksgiving turkey, soda fountains, ice skating on the pond, and small-town boys playing baseball-not to mention the beginning of the civil rights movement. Now, the best-selling collection of Rockwell’s most beloved illustrations, organized by decade, is available in a refreshed edition. With more than 150 images-oil paintings, watercolors, and rare black-and-white sketches--this is an uncommonly faithful Rockwell treasury. The original edition has sold nearly 200,000 copies.