Today, says Francine Prose, the word has been weakened and is used almost exclusively to refer to the chic women who help fashion designers inform their latest lines. But in her scholarly account, Prose (a National Book Award finalist for her novel Blue Angel ) presents nine real women who moved men to greatness and who were not mere catalysts but worthy of note on their own, in many cases deserving a share of the credit for the work they helped create.Each chapter is a mini-biography of a woman's life and the way a male artist figured into it. We see the muse as prompter and creator in her own regard, like memoirist Hester Thrale, whose letters to Samuel Johnson helped form his later works. In Alice Liddell, the inspiration for Lewis Carroll's Alice's Adventures in Wonderland, the muse is at her most passive, asserting her independence of the child-loving author only by failing to remain seven years old forever. And with Yoko Ono, there is the muse as artist in her own right, who claimed not to have heard of the Beatles before meeting John Lennon, and whose avant-garde tendencies some blamed for his musical downfall.To hit the mystical nine, Prose stretches a bit. For every Suzanne Farrell collaborating on ballets with George Balanchine, or every Gala Dal� cosigning canvases with spouse Salvador, there are personae only a graduate student would be likely to know. We learn of "serial muse" Lou Andreas-Salom�'s involvement with Friedrich Nietzsche, Rainer Maria Rilke, and Sigmund Freud, and of how Charis Weston had to vie with a toilet for the attentions of her photographer husband, Edward. But these lesser-knowns help make the book a complete analysis of notable women who motivated men of achievement -- usually at the expense of their own -- and lived with the consequences. iKatherine Hottinger/i

    Rescued from neglect, he has become a cultural icon in the late twentieth century, not only for his art but also because of his violent and tragic life. Catherine Puglisi's highly praised monograph, now available for the first time in paperback, supersedes all previous studies of the artist. Making full use of new research and dramatic recent discoveries, she has produced a precise, clear-headed and comprehensive work of scholarship that also provides a moving biography of the artist and a penetrating analysis of the genius with which he absorbed and transformed the artistic tradition of his time. All Caravaggio's works are discussed and illustrated in colour, and the book has an appendix of documents, full notes and bibliography, checklist of works and full indexes. This authoritative and beautifully produced monograph is the standard work on Caravaggio.

    Published to accompany the hugely popular Vivienne Westwood exhibition at the V&A, this book is the first in-depth Vivienne Westwood retrospective. It studies her work as a groundbreaking fashion designer and celebrates her visual impact and iconic profile world-wide.

    In seven separate sketches, he presents his picture of a man whose life is the key to his creation.

    Anne-Marie O'Connor, writer for the Washington Post, formerly of the Los Angeles Times, tells the galvanizing story of the Lady in Gold, Adele Bloch-Bauer, a dazzling Viennese Jewish society figure; daughter of the head of one of the largest banks in the Hapsburg Empire, head of the Oriental Railway, whose Orient Express went from Berlin to Constantinople; wife of Ferdinand Bauer, sugar-beet baron. The Bloch-Bauers were art patrons, and Adele herself was considered a rebel of fin de siècle Vienna (she wanted to be educated, a notion considered "degenerate” in a society that believed women being out in the world went against their feminine "nature"). The author describes how Adele inspired the portrait and how Klimt made more than a hundred sketches of her-simple pencil drawings on thin manila paper. And O'Connor writes of Klimt himself, son of a failed gold engraver, shunned by arts bureaucrats, called an artistic heretic in his time, a genius in ours. She writes of the Nazis confiscating the portrait of Adele from the Bloch-Bauers' grand palais; of the Austrian government putting the painting on display, stripping Adele's Jewish surname from it so that no clues to her identity (nor any hint of her Jewish origins) would be revealed. Nazi officials called the painting, "The Lady in Gold" and proudly exhibited it in Vienna's Baroque Belvedere Palace, consecrated in the 1930s as a Nazi institution. The author writes of the painting, inspired by the Byzantine mosaics Klimt had studied in Italy, with their exotic symbols and swirls, the subject an idol in a golden shrine. We see how, sixty years after it was stolen by the Nazis, the Portrait of Adele Bloch-Bauer became the subject of a decade-long litigation between the Austrian government and the Bloch-Bauer heirs, how and why the U.S. Supreme Court became involved in the case, and how the Court's decision had profound ramifications in the art world. In this book listeners will find riveting social history; an illuminating and haunting look at turn-of-the-century Vienna; a brilliant portrait of the evolution of a painter; a masterfully told tale of suspense. And at the heart of it, The Lady in Gold-the shimmering painting, and its equally irresistible subject, the fate of each forever intertwined.

    Simply constructed, the book explores 50 key works – from the realist painting of Courbet to a contemporary installation by Yayoi Kusama – and then links them to the most important movements, themes and techniques. Accessible, concise and richly illustrated, the book reveals the connections between different periods, artists and styles, giving readers a thorough understanding and broad enjoyment of modern art.

    We also learn how Dalí draws inspiration from excrement, rotten fish and Vermeer's Lacemaker to enter his "rhinocerontic" period, preaching his post-holocaustal gospels of nuclear mysticism and cosmogenic atavism; and we follow the labyrinthine mental journeys that lead to the creation of such paintings as the Assumption, and his film script The Flesh Wheelbarrow.This new expanded edition includes a brilliant and revelatory essay on Salvador Dalí, and the importance of his art to the 20th century, by the author J. G. Ballard.

    In the thirties and forties, along with Arshile Gorky and Jackson Pollock, he became a key figure in the revolutionary American movement of abstract expressionism. Of all the painters in that group, he worked the longest and was the most prolific, creating powerful, startling images well into the 1980s.The first major biography of de Kooning captures both the life and work of this complex, romantic figure in American culture. Ten years in the making, and based on previously unseen letters and documents as well as on hundreds of interviews, this is a fresh, richly detailed, and masterful portrait. The young de Kooning overcame an unstable, impoverished, and often violent early family life to enter the Academie in Rotterdam, where he learned both classic art and guild techniques. Arriving in New York as a stowaway from Holland in 1926, he underwent a long struggle to become a painter and an American, developing a passionate friendship with his fellow immigrant Arshile Gorky, who was both a mentor and an inspiration. During the Depression, de Kooning emerged as a central figure in the bohemian world of downtown New York, surviving by doing commercial work and painting murals for the WPA. His first show at the Egan Gallery in 1948 was a revelation. Soon, the critics Harold Rosenberg and Thomas Hess were championing his work, and de Kooning took his place as the charismatic leader of the New York school—just as American art began to dominate the international scene.Dashingly handsome and treated like a movie star on the streets of downtown New York, de Kooning had a tumultuous marriage to Elaine de Kooning, herself a fascinating character of the period. At the height of his fame, he spent his days painting powerful abstractions and intense, disturbing pictures of the female figure—and his nights living on the edge, drinking, womanizing, and talking at the Cedar bar with such friends as Franz Kline and Frank O’Hara. By the 1960s, exhausted by the feverish art world, he retreated to the Springs on Long Island, where he painted an extraordinary series of lush pastorals. In the 1980s, as he slowly declined into what was almost certainly Alzheimer’s, he created a vast body of haunting and ethereal late work.This is an authoritative and brilliant exploration of the art, life, and world of an American master.

    Art as Therapy is packed with 150 examples of outstanding art, with chapters on Love, Nature, Money, and Politics outlining how these works can help with common difficulties. For example, Vermeer's Girl Reading a Letter helps us focus on what we want to be loved for; Serra's Fernando Passoa reminds us of the importance of dignity in suffering; and Manet's Bunch of Asparagus teaches us how to preserve and value our long-term partners.De Botton demonstrates how art can guide and console us, and along the way, help us to better understand both art and ourselves.

    During the eighty-six years of his life, Monet never rested, and was always driven by the urge to paint. And more than two thousand paintings survive from six highly creative decades. Despite being a celebrity among France's political and cultural elite, Monet never became complacent. Even in his seventies and eighties he was still producing paintings that astounded the art world. Monet's work remains highly influential—his abstraction, gestural strokes and expressive color capturing the imagination of generation after generation of artists.This title is appropriate for ages 14 and up

    Most had never left home, never experienced a different culture. None had any guarantee of success. That they achieved so much for themselves and their country profoundly altered American history. As David McCullough writes, "Not all pioneers went west." Elizabeth Blackwell, the first female doctor in America, was one of this intrepid band. Another was Charles Sumner, who enrolled at the Sorbonne because of a burning desire to know more about everything. There he saw black students with the same ambition he had, and when he returned home, he would become the most powerful, unyielding voice for abolition in the U.S. Senate, almost at the cost of his life. Two staunch friends, James Fenimore Cooper and Samuel F. B. Morse, worked unrelentingly every day in Paris, Cooper writing and Morse painting what would be his masterpiece. From something he saw in France, Morse would also bring home his momentous idea for the telegraph. Pianist Louis Moreau Gottschalk from New Orleans launched his spectacular career performing in Paris at age 15. George P. A. Healy, who had almost no money and little education, took the gamble of a lifetime and with no prospects whatsoever in Paris became one of the most celebrated portrait painters of the day. His subjects included Abraham Lincoln. Medical student Oliver Wendell Holmes wrote home of his toil and the exhilaration in "being at the center of things" in what was then the medical capital of the world. From all they learned in Paris, Holmes and his fellow "medicals" were to exert lasting influence on the profession of medicine in the United States. Writers Ralph Waldo Emerson, Nathaniel Hawthorne, Mark Twain, and Henry James were all "discovering" Paris, marveling at the treasures in the Louvre, or out with the Sunday throngs strolling the city's boulevards and gardens. "At last I have come into a dreamland," wrote Harriet Beecher Stowe, seeking escape from the notoriety Uncle Tom's Cabin had brought her. Almost forgotten today, the heroic American ambassador Elihu Washburne bravely remained at his post through the Franco-Prussian War, the long Siege of Paris and even more atrocious nightmare of the Commune. His vivid account in his diary of the starvation and suffering endured by the people of Paris (drawn on here for the first time) is one readers will never forget. The genius of sculptor Augustus Saint-Gaudens, the son of an immigrant shoemaker, and of painters Mary Cassatt and John Singer Sargent, three of the greatest American artists ever, would flourish in Paris, inspired by the examples of brilliant French masters, and by Paris itself. Nearly all of these Americans, whatever their troubles learning French, their spells of homesickness, and their suffering in the raw cold winters by the Seine, spent many of the happiest days and nights of their lives in Paris. McCullough tells this sweeping, fascinating story with power and intimacy, bringing us into the lives of remarkable men and women who, in Saint-Gaudens's phrase, longed "to soar into the blue." The Greater Journey is itself a masterpiece.

    Two photo inserts.

    Cornell's lyrical compositions combine found materials in ways that reflect a very personal exploration of art and culture and that represent his belief in art as an uplifting voyage into the imagination. This stunning book is published to accompany the first retrospective of the artist's work in twenty-six years.In her essay, Cornell scholar Lynda Roscoe Hartigan focuses on the seminal experiences and concepts that shaped Cornell's evolution as an American artist with a singular style of seeing. His transformation of found materials, distillation of far-flung ideas and traditions, and mingling of the vernacular and the erudite resonate with the spirit of synthetic innovation associated with American art and culture. Additionally, eight thematic sections (Navigating a Career, Cabinets of Curiosity, Dream Machines, Bouquets of Homage, Nature's Theater, Geographies of the Heavens, Crystal Cages, and Chambers of Time)explore the major ideas that recur in his work. The book also includes a bibliography, numerous illustrations of the artist's source material and previously unpublished works, and much more.

    Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself.

    Born to the artist Orazio Gentileschi at the beginning of the 1600s, when artists were the celebrities of the day, Artemisia was apprenticed to her father at an early age, showing such remarkable talent that he viewed her as the most precious thing in his life. But at the age of seventeen Artemisia was raped by her father's best friend and partner. The Gentileschi name was dragged through scandal, for Artemisia refused, even when tortured, to deny it happened. Indeed, she went further: she dared to plead her case in court. All of Rome was riveted by the trial. Artemisia won the case, but lost the love of her father and of all of Rome. Artemisia sought revenge through her art, portraying women liberating their fellow citizens from tyrants. Her stunning works took Rome by storm, overturning the prejudices of her time and winning the admiration of patrons, courtesans, and monarchs. Lapierre brings the historical Artemisia Gentileschi to vivid life, capturing the sights, sounds, and smells of Baroque Italy as well as the life of this remarkable woman.