In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    Helplessness in the face of disease and human disaster helped to perpetuate this belief in magic and the supernatural. As Keith Thomas shows, England during these years resembled in many ways today's underdeveloped areas. The English population was exceedingly liable to pain, sickness, and premature death; many were illiterate; epidemics such as the bubonic plague plowed through English towns, at times cutting the number of London's inhabitants by a sixth; fire was a constant threat; the food supply was precarious; and for most diseases there was no effective medical remedy. In this fascinating and detailed book, Keith Thomas shows how magic, like the medieval Church, offered an explanation for misfortune and a means of redress in times of adversity. The supernatural thus had its own practical utility in daily life. Some forms of magic were challenged by the Protestant Reformation, but only with the increased search for scientific explanation of the universe did the English people begin to abandon their recourse to the supernatural. Science and technology have made us less vulnerable to some of the hazards which confronted the people of the past. Yet Religion and the Decline of Magic concludes that if magic is defined as the employment of ineffective techniques to allay anxiety when effective ones are not available, then we must recognize that no society will ever be free from it.

    In Search of the Dark Ages vividly conjures up some of the most famous names in British history, such as Queen Boadicea, leader of a terrible war of resistance against the Romans, and King Arthur, the 'once and future king', for whose riddle Wood proposes a new and surprising solution. Here too, warts and all, are the Saxon, Viking and Norman kings who laid the political foundations of England - Offa of Mercia, Alfred the Great, Athelstan, and William the Conqueror, whose victory at Hastings in 1066 marked the end of Anglo-Saxon England.Reflecting recent historical, textual and archaeological research, this revised edition of Michael Wood's classic book overturns preconceptions of the Dark Ages as a shadowy and brutal era, showing them to be a richly exciting and formative period in the history of Britain.—'With In Search of the Dark Ages, Michael Wood wrote the book for history on TV.' The Times—'Michael Wood is the maker of some of the best TV documentaries ever made on history and archaeology.' Times Literary Supplement

    Each image in Talking Pictures reveals a singular, frozen moment in a person’s life, be it joyful, quiet, or steeped in sorrow. Yet the book’s unique depth comes from the writing accompanying each photo: as with the caption revealing how one seemingly random snapshot of a dancing couple captured the first dance of their 40-year marriage, each successive inscription shines like a flashbulb illuminating a photograph’s particular context and lighting up our connection to the past.

    This text manages a pleasing balance, succeeds in whetting the appetite and supplying excellent online resources for the reader who wishes to find out more. Inside you will read about... ✓ The Creation in Norse Mythology ✓ The Nine Worlds ✓ Major Gods and Goddesses ✓ Valhalla ✓ Ragnarok ✓ The Sagas ✓ The Influence of Norse Mythology on Our Lives Today The author quotes generously from the most important relevant source which is freely available via the Project Gutenberg, and you are left with the sounds and taste of the times... ringing in your ears and tingling on your tongue.

    BOOKS

    Kandel, whose remarkable scientific career and deep interest in art give him a unique perspective, demonstrates how science can inform the way we experience a work of art and seek to understand its meaning. Kandel illustrates how reductionism―the distillation of larger scientific or aesthetic concepts into smaller, more tractable components―has been used by scientists and artists alike to pursue their respective truths. He draws on his Nobel Prize-winning work revealing the neurobiological underpinnings of learning and memory in sea slugs to shed light on the complex workings of the mental processes of higher animals.In Reductionism in Art and Brain Science, Kandel shows how this radically reductionist approach, applied to the most complex puzzle of our time―the brain―has been employed by modern artists who distill their subjective world into color, form, and light. Kandel demonstrates through bottom-up sensory and top-down cognitive functions how science can explore the complexities of human perception and help us to perceive, appreciate, and understand great works of art. At the heart of the book is an elegant elucidation of the contribution of reductionism to the evolution of modern art and its role in a monumental shift in artistic perspective. Reductionism steered the transition from figurative art to the first explorations of abstract art reflected in the works of Turner, Monet, Kandinsky, Schoenberg, and Mondrian. Kandel explains how, in the postwar era, Pollock, de Kooning, Rothko, Louis, Turrell, and Flavin used a reductionist approach to arrive at their abstract expressionism and how Katz, Warhol, Close, and Sandback built upon the advances of the New York School to reimagine figurative and minimal art. Featuring captivating drawings of the brain alongside full-color reproductions of modern art masterpieces, this book draws out the common concerns of science and art and how they illuminate each other.

    Full-color reproductions and thorough text provide a quick yet solid introduction to this master.

    A Gambling Man is a portrait of Charles II, exploring his elusive nature through the lens of these ten vital years - and a portrait of a vibrant, violent, pulsing world, in which the risks the king took forged the fate of the nation, on the brink of the modern world.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    So what does it mean to dress like a woman?Dress Like a Woman turns that question on its head by sharing a myriad of interpretations across history. The book includes more than 240 incredible photographs that illustrate how women’s roles have changed over the last century. The women pictured in this book inhabit a fascinating intersection of gender, fashion, politics, culture, class, nationality, and race. You’ll see some familiar faces, including trailblazers Shirley Chisholm, Amelia Earhart, Angela Davis, Georgia O’Keeffe, and Michelle Obama, but the majority of photographs are of ordinary working women from many backgrounds and professions. Pioneering scientists and mathematicians, leading civil rights and feminist activists, factory workers and lumberjacks, stay-at-home moms and domestic workers, and artists and musicians; all express their individual style and dress to get the job done. With essays by renowned fashion writer Vanessa Friedman and New York Times bestselling author Roxane Gay, Dress Like a Woman offers a comprehensive look at the role of gender and clothing in the workplace—and proves that there’s no single way to dress like a woman.

    In this intimate and revealing memoir, Stein tells us much about the great man (and herself) and offers many insights into the life and art of the 20th century's greatest painter.Mixing biological fact with artistic and aesthetic comments, she limns a unique portrait of Picasso as a founder of Cubism, an intimate of Appollinaire, Max Jacob, Braque, Derain, and others, and a genius driven by a ceaseless quest to convey his vision of the 20th century. We learn, for example, of the importance of his native Spain in shaping Picasso's approach to art; of the influence of calligraphy and African sculpture; of his profound struggle to remain true to his own vision; of the overriding need to empty himself of the forms and ideas that welled up within him.Stein's close relationship with Picasso furnishes her with a unique vantage point in composing this perceptive and provocative reminiscence. It will delight any admirer of Picasso or Gertrude Stein; it is indispensable to an understanding of modern art.

    ARTnews hailed this lively volume as "a fascinating book" by "a superb critic and art historian". For this Second Edition, the author adds a new final chapter and extensively reworks the last quarter of the hook to incorporate current thinking on the art of the last 20 years.

    But had this bold and spirited beauty really descended into prostitution, drunkenness, and early death--or did her life, hidden from history, take a different course altogether? Eunice Lipton's search for the answer combines the suspense of a detective story with the revelatory power of art, peeling off layers of lies to reveal startling truths about Victorine Meurent--and about Lipton herself.

    With an exquisite sense of romantic melancholy, we encounter the teenage Byron in the moldering Newstead Abbey, Flaubert watching the buzzards on the pyramids, Henry James in the Colosseum, and Freud at Pompeii. We travel the Appian Way with Dickens and behold the Baths of Caracalla with Shelley. An exhilarating tour, at once elegant and stimulating, In Ruins casts an exalting spell as it explores the bewitching power of architectural remains and their persistent hold on the imagination.