In the ensuing decades, he has led hundreds of metalsmiths to explore and expand on his pioneering work. Now for the first time, the results of those efforts are compiled into a comprehensive review. With practical techniques and over 450 photographs, this groundbreaking book sets a standard for breadth, authority, and inspiration. Eight by 10.5 inches; 160 pages; full color; hardcover with dust jacket; 450+ photos.

    Covering the world history of costume, dress, and style from antiquity through the end of the 19th century, the great work -- "consolidated" in 1888 into 6 volumes containing nearly 500 plates -- remains, to this day, completely unique in its scope and detail. Racinet's organization by culture and subject has been preserved in TASCHEN's magnificent and complete reprint, as have excerpts from his delightful descriptions and often witty comments. Perusing these beautifully detailed and exquisitely colored illustrations, you'll discover everything from the garb of ancient Etruscans to traditional Eskimo attire to 19th century French women's couture. Though Racinet's study spans the globe from ancient times through his own, his focus is on European clothing from the Middle Ages to the 1880s and this subject is treated with exceeding passion and attention to detail. Costume History is an absolutely invaluable reference for students, designers, artists, illustrators, and historians; it is also an immensely fascinating and inspirational book for anyone with an interest in clothing and style. al text (2500 manuscript pages) in French and German, as well as all plates and details in the form of high resolution image files which are free of rights and can be used for any creative project.CONTENTS: Part I The Ancient World (Egypt, Assyria, Israel, Persia and Phrygia, Greece, Etruscan, Greco-Roman, Rome, Barbarian Europe, Celts and Gauls)Part II 19th CenturyAntique Civilizations (Oceania, Africa, Eskimos, North American Indians, Mexican Indians, South American Indians, China, Japan, India, Ceylon, Middle East, Orient, Turkey)Part III Europe from Byzantium to the 1800s (Byzantium, France-Byzantine, Poland, Italy, Spain, Germany, France, England, Holland)Part IV Traditional costumes of the 1880s (Scandinavia, Holland, Scotland, England, Germany, Switzerland, Russia, Poland, Hungary, Greece, Italy, Spain, Portugal, France)

    Beautifully illustrated with 110 color illustrations, The Quilts of Gee’s Bend includes a historical overview of the two hundred years of extraordinary quilt-making in this African-American community, its people, and their art-making tradition. This book is being·released in conjunction with a national exhibition tour including The Museum of Fine Art, Houston, and the Whitney Museum of American Art.

    In the course of a gripping, headlong narrative, Price's unnamed protagonist moves in and out of contemporary non-spaces on a confounding and enigmatic quest, all the while meditating on art in the broadest sense: not simply painting and sculpture but also film, architecture, literature, and poetry. From boutique hotels and highway bridges to PC terminals and off-ramps; from Kanye West and Jeff Koons to George Bush and Patricia Highsmith; from the playground to the internet to the mirror, Price's hybrid of fiction, essay, and memoir gets to the central questions not only of art, but of how we live now

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    This eleventh edition has been carefully revised to expand and clarify concepts throughout the text, while adding new material on developing ideas, critical thinking, and time and motion.

    C. Leyendecker captivated audiences throughout the first half of the 20th century. Leyendecker is best known for his creation of the archetype of the fashionable American male with his advertisements for Arrow Collar. These images sold to an eager public the idea of a glamorous lifestyle, the bedrock upon which modern advertising was built. He also was the creator instantly recognizable icons, such as the New Year’s baby and Santa Claus, that are to this day an integral part of the lexicon of Americana and was commissioned to paint more Saturday Evening Post covers than any other artist. Leyendecker lived for most of his adult life with Charles Beach, the Arrow Collar Man, on whom the stylish men in his artwork were modeled. The first book about the artist in more than 30 years, J. C. Leyendecker features his masterworks, rare paintings, studies, and other artwork, including the 322 covers he did for the Post. With a revealing text that delves into both his artistic evolution and personal life, J. C. Leyendecker restores this iconic image maker’s rightful position in the pantheon of great American artists.

    Comparing modern art not only to pizzas but also to traditional and children's art, Heller shows us how we can refine analytical tools we already possess to understand and enjoy even the most unfamiliar paintings and sculptures.How is a painting like a pizza? Both depend on visual balance for much of their overall appeal and, though both can be judged by a set of established standards, pizzas and paintings must ultimately be evaluated in terms of individual taste. By using such commonsense examples and making unexpected connections, this book helps even the most skeptical viewers feel comfortable around contemporary art and see aspects of it they would otherwise miss. Heller discusses how nontraditional works of art are made--and thus how to talk about their composition and formal elements. She also considers why such art is made and what it means.At the same time, Heller reassures those of us who have felt uncomfortable around avant-garde art that we don't have to like all--or even any--of it. Yet, if we can relax, we can use the aesthetic awareness developed in everyday life to analyze almost any painting, sculpture, or installation. Heller also gives concise answers to the eight questions she is most frequently asked about contemporary art--from how to tell when an abstract painting is right side up to which works of art belong in a museum.This book is for anyone who agrees with art critic Clement Greenberg that All profoundly original art looks ugly at first. It's also for anyone who disagrees. It is for anyone who wants to get more out of a museum or gallery visit and would like to be able to say something more than just yes or no when asked if they like an artist's work.

    Despite this, and perhaps in part because of its prevalence in the media, it is often denigrated as trivial and superficial, as a sign of vanity and narcissism. Written by a highly regarded authority on twentieth-century fashion, this Very Short Introduction offer a wide-ranging and revealing look at fashion that discusses everything from production and design, to couture and retailing, to the wider role of fashion in society. This lively book illuminates the structure of the fashion industry and the range of professionals involved in its creation, and it provides cogent insight into its historical, social and cultural contexts. It also sheds light on how fashion has developed, while raising questions about its ethical and controversial aspects, such as the use of fur, exploitative trading, and poor working conditions for laborers.

    That will paint itself. Do the obvious thing before you do the superhuman thing. It may have been accidental, but you knew enough to let this alone. The good painter is always making use of accidents. Never try to repeat a success. Swing a bigger brush — you don’t know what fun you are missing. For 31 years, Charles Hawthorne spoke in this manner to students of his famous Cape Cod School of Art. The essence of that instruction has been collected from students’ notes and captured in this book, retaining the personal feeling and the sense of on-the-spot inspiration of the original classroom. Even though Hawthorne is addressing himself to specific problems in specific paintings, his comments are so revealing that they will be found applicable a hundred times to your own work.The book is divided into sections on the outdoor model, still life, landscape, the indoor model, and watercolor. Each section begins with a concise essay and continues with comments on basic elements: general character, color, form, seeing, posture, etc. It is in the matter of color that students will especially feel themselves in the presence of a master guide and critic. Hawthorne’s ability to see color and, more important, to make the student see color, is a lesson that will aid student painters and anyone else interested in any phase of art.Although it does not pretend to be a comprehensive or closely ordered course, this book does have much to offer. It also represents the artistic insight of one of the finest painter-teachers of the twentieth century."An excellent introduction for laymen and students alike." — Time"To read these notes and comments … is in itself an education. One cannot help but gain great help." — School Arts

    This book is a cornucopia of his Karlisms: cultivated, unpredictable, provocative, sometimes shocking, but always impossible to ignore. Karl Lagerfeld is a modern master of couture. While simultaneously running Chanel, Fendi, and his own eponymous fashion house, he has consistently re-invented trends on the catwalk and in the street for half a century. His wise, surprising statements pop up like offbeat news flashes and are regularly seized upon by fashionistas, acolytes, and sages the world over. Here, in his own deadpan words, are his exacting opinions on everything-from fashion, style, women, and Chanel to fame, life, and books. This is the ultimate repertoire of wit and wisdom from fashion's sharpest pin. "I only know how to play one role: me." "Think pink. But don't wear it." "I like everything to be washable, myself included." "Change is the healthiest way to survive." "I don't recommend myself as a guest." "There is one thing I love on earth: to learn."

    L. Aronson.Richard Avedon was arguably the world's most famous photographer--as artistically influential as he was commercially successful. Over six richly productive decades, he created landmark advertising campaigns, iconic fashion photographs (as the star photographer for Harper's Bazaar and then Vogue), groundbreaking books, and unforgettable portraits of everyone who was anyone. He also went on the road to find and photograph remarkable uncelebrated faces, with an eye toward constructing a grand composite picture of America.Avedon dazzled even his most dazzling subjects. He possessed a mystique so unique it was itself a kind of genius--everyone fell under his spell. But the Richard Avedon the world saw was perhaps his greatest creation: he relentlessly curated his reputation and controlled his image, managing to remain, for all his exposure, among the most private of celebrities.No one knew him better than did Norma Stevens, who for thirty years was his business partner and closest confidant. In Avedon: Something Personal--equal parts memoir, biography, and oral history, including an intimate portrait of the legendary Avedon studio--Stevens and co-author Steven M. L. Aronson masterfully trace Avedon's life from his birth to his death, in 2004, at the age of eighty-one, while at work in Texas for The New Yorker (whose first-ever staff photographer he had become in 1992).The book contains startlingly candid reminiscences by Mike Nichols, Calvin Klein, Claude Picasso, Renata Adler, Brooke Shields, David Remnick, Naomi Campbell, Twyla Tharp, Jerry Hall, Mikhail Baryshnikov, Bruce Weber, Cindy Crawford, Donatella Versace, Jann Wenner, and Isabella Rossellini, among dozens of others.Avedon: Something Personal is the confiding, compelling full story of a man who for half a century was an enormous influence on both high and popular culture, on both fashion and art--to this day he remains the only artist to have had not one but two retrospectives at the Metropolitan Museum of Art during his lifetime. Not unlike Richard Avedon's own defining portraits, the book delivers the person beneath the surface, with all his contradictions and complexities, and in all his touching humanity.

    In Steampunk circles, jewelry-makers are often master metalsmiths who combine found objects with fine metals to create elaborate pieces. In Steampunk-Style Jewelry, the projects focus on "no fire" techniques—like simple stringing, wirework, hammering, stamping, gluing, stitching, and off-loom beadwork—so that even a beginner can create pieces in the style. Each project provides a complete materials and tools list, step-by-step instructions, and clear illustrations. This book offers a broad overview of a growing design trend that is part of the literary, industrial design, fashion, and popular culture scene. Readers will learn about the art movement through the many photographic sidebars that explore the many aspects of the trend.

    

    They are world-famous for their inimitable, democratic designs which bridge the gap between crafts and industrial production. The marriage of beautiful, organic forms with everyday functionality is one of the primary strengths of Scandinavian design and one of the reasons why Scandinavian creations are so cherished and sought after. This guide provides a detailed look at Scandinavian design from 1900 to the present day, with in-depth entries on featured designers and design-led companies, plus essays on the similarities and differences in approach between Norway, Sweden, Finland, Iceland, and Denmark.