In Lee Krasner, author Gail Levin gives us an engrossing biography of the painter—so memorably portrayed in the movie Pollack by actor Marcia Gay Harden, who won an Academy Award for her performance—a firebrand and trailblazer for women’s rights as well as an exceptional artist who led a truly fascinating life.

    “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.

    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.”

    Investigative reporters Laney Salisbury and Aly Sujo brilliantly recount the tale of a great con man and unforgettable villain, John Drewe, and his sometimes unwitting accomplices. Chief among those was the struggling artist John Myatt, a vulnerable single father who was manipulated by Drewe into becoming a prolific art forger. Once Myatt had painted the pieces, the real fraud began. Drewe managed to infiltrate the archives of the upper echelons of the British art world in order to fake the provenance of Myatt's forged pieces, hoping to irrevocably legitimize the fakes while effectively rewriting art history. The story stretches from London to Paris to New York, from tony Manhattan art galleries to the esteemed Giacometti and Dubuffet associations, to the archives at the Tate Gallery. This enormous swindle resulted in the introduction of at least two hundred forged paintings, some of them breathtakingly good and most of them selling for hundreds of thousands of dollars. Many of these fakes are still out in the world, considered genuine and hung prominently in private houses, large galleries, and prestigious museums. And the sacred archives, undermined by John Drewe, remain tainted to this day. Provenance reads like a well-plotted thriller, filled with unforgettable characters and told at a breakneck pace. But this is most certainly not fiction; Provenance is the meticulously researched and captivating account of one of the greatest cons in the history of art forgery.

    Thus began the romance of the most dynamic, productive and famous couple in American art. 8 pages of full-color photographs; 40 black-and-white photographs.

    From Simon & Schuster comes an unforgettable autobiography from Mark Arax: In My Father's Name.Mark Arax recounts the incredible events that transpired twenty years after his father's unsolved murder, during which he returned to Fresno under an assumed name and uncovered the startling disclosure that preceded his father's tragic death.

    After oil was discovered beneath their land, the Osage rode in chauffeured automobiles, built mansions, and sent their children to study in Europe.Then, one by one, they began to be killed off. One Osage woman, Mollie Burkhart, watched as her family was murdered. Her older sister was shot. Her mother was then slowly poisoned. And it was just the beginning, as more Osage began to die under mysterious circumstances.In this last remnant of the Wild West—where oilmen like J. P. Getty made their fortunes and where desperadoes such as Al Spencer, “the Phantom Terror,” roamed – virtually anyone who dared to investigate the killings were themselves murdered. As the death toll surpassed more than twenty-four Osage, the newly created F.B.I. took up the case, in what became one of the organization’s first major homicide investigations. But the bureau was then notoriously corrupt and initially bungled the case. Eventually the young director, J. Edgar Hoover, turned to a former Texas Ranger named Tom White to try to unravel the mystery. White put together an undercover team, including one of the only Native American agents in the bureau. They infiltrated the region, struggling to adopt the latest modern techniques of detection. Together with the Osage they began to expose one of the most sinister conspiracies in American history.A true-life murder mystery about one of the most monstrous crimes in American history.

    While her husband, Bob, built his career in advertising, Jo comfortably settled into her role as mother of four, housewife, and community volunteer.In 1968, Jo’s world changed dramatically. Richard Nixon was elected President of the United States, and Bob was offered the job of a lifetime—White House Chief of Staff. As Jo and Bob discussed the opportunities and challenges that this move would entail, little did she anticipate the course that her life, and her relationship with Bob, would take over the next ten years.In this insightful, poignant, and guileless memoir of those ten years, Jo shares her story as the wife of H. R. Haldeman, often referred to as the second most powerful person in the White House. She offers a window into the world of trips on Air Force One, weekends at Camp David, and events at the White House, as well as family vignettes and the growing stresses of her husband’s demanding job.Then a bungled burglary at the Watergate erupted into a national scandal. The news began to feature the Haldeman name. Blaring headlines and vicious political cartoons accompanied new revelations of a cover-up. Multiple investigations and Senate hearings followed. Criminal proceedings loomed.Jo’s compelling account takes the reader on her journey from the heady heights of Washington life through an excruciating public resignation and trial to her husband’s conviction and imprisonment. In a true period piece, Jo illuminates the story of the “woman behind the man” and personalizes the Watergate experience. Enhanced by her personal photographs and the immediacy of her present tense delivery, In the Shadow of the White House is a fascinating work of nonfiction that reads like a novel.

    The subject of the first essay was John F. Kennedy and his young family, who sat for formal black-and-white portraits just three weeks prior to Kennedy's presidential inauguration. Six images appeared in the magazine's February 1961 issue.That same day, Avedon created more informal color portraits of Kennedy and his family at the Kennedy compound in Palm Beach. One of these images ran as the cover of LOOK magazine's February 28 issue, with photographs by Avedon inside. Just before the magazine hit the newsstands and was delivered to over 6.5 million people, a set of photographs, comprised mostly of the LOOK images, was released by the White House and appeared in newspapers across the country.During his lifetime, Richard Avedon donated more than two hundred images to the Smithsonian Institution, including all of the photographs of the Kennedy family sitting for Harper's Bazaar. Smithsonian curator Shannon Thomas Perich has culled more than seventy-five images from that donation for The Kennedys: Portrait of a Family, making these stunning photographs available for view for the first time. Perich's introductory essay—accompanied by a wealth of archival photographs of both Avedon and the Kennedy family—provides historical background on the two sittings within a political and cultural context and critically examines the work of one of the finest photographers of the twentieth century. A foreword by Robert Dallek, distinguished historian and author of the bet-selling An Unfinished Life: John F. Kennedy, 1917-1963, provides authoritative and compelling insight to one of the most fascinating presidents in American history.

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    His congregation was racially integrated, and he was a much-lauded leader in the contemporary civil rights movement. Eventually, Jones moved his church, Peoples Temple, to northern California. He became involved in electoral politics, and soon was a prominent Bay Area leader.In this riveting narrative, Jeff Guinn examines Jones’s life, from his extramarital affairs, drug use, and fraudulent faith healing to the fraught decision to move almost a thousand of his followers to a settlement in the jungles of Guyana in South America. Guinn provides stunning new details of the events leading to the fatal day in November, 1978 when more than nine hundred people died—including almost three hundred infants and children—after being ordered to swallow a cyanide-laced drink.Guinn examined thousands of pages of FBI files on the case, including material released during the course of his research. He traveled to Jones’s Indiana hometown, where he spoke to people never previously interviewed, and uncovered fresh information from Jonestown survivors. He even visited the Jonestown site with the same pilot who flew there the day that Congressman Leo Ryan was murdered on Jones’s orders. The Road to Jonestown is the definitive book about Jim Jones and the events that led to the tragedy at Jonestown.

    Gachet, ' was sold for the astonishing price of $82.5 million. This fascinating book reconstructs the painting's journey and becomes a rich story of modernism and the forces behind the art market. 'Portrait of Dr. Gachet' was one of van Gogh's last paintings, completed just weeks before his suicide. Depicting the eccentric physician who was attempting to treat the artist, this painting was viewed by van Gogh as a summation of his ideas about portraiture. Cynthia Saltzman's book reconstructs the journey of this revolutionary and haunting painting, in which, as van Gogh wrote, he strove to capture the 'heartbroken expression of our time.' As Saltzman superbly shows, this painting not only evokes the ethos of modern life but also illuminates the ways in which art, politics, and the market have intersected in the 20th century. Affected by broad social and cultural change, the painting's fate was also influenced by innovations in the way art was sold and displayed, and by the growing role of dealers and museums.

    Its portrayal of the Duke of Windsor as a Nazi sympathizer--who would stop at nothing to hide it--is sure to make headlines. Black-and-white photographs.

    When the State of Ohio strapped its first woman into the electric chair, Hahn gained a place in the annals of crime as the nation's first female serial killer to be executed in the chair.Told here for the first time in riveting detail is Anna Marie's gripping story, an almost unbelievable tale of multiple murders, deceit, and greed.Born in Bavaria in 1906, Anna Marie brought shame to her pious family when, as a teenager, she gave birth to an illegitimate son, Oscar. She was shipped off to America in 1929 where she initially lived with elderly relatives in Cincinnati. A year later she married Philip Hahn, a Western Union telegrapher, with whom she bought a new house and opened a delicatessen/bakery.Pressed economically by the Great Depression, the ever-resourceful Anna Marie found other ways to get the money to support her passionate pasttime--betting on horses. She tried burning down the house, then the deli, for the insurance; and she tried killing her husband, also for the insurance. Then she took to befriending the neighborhood elderly, latching on to their life savings before feeding them arsenic with deadly results.For weeks her Cincinnati trial for "the greatest mass murder in the history of the country" was a front-page sensation across the nation. A thousand or more curiosity seekers came daily to the courthouse to try to get just a glimpse of her. Nearly 100 witnesses gave damning testimony against her, and the jury's guilty verdict put her on the path to the electric chair. Finally, after a year, all appeals were exhausted, and Anna Marie, age 32, was executed on December 7, 1938, at the state penitentiary in Columbus.True crime buffs, historians, legal professionals, and others seeking an extraordinary story will find The Goodbye Door a compelling addition to true crime literature.

    From more than 300 interviews and over 100,000 pages of previously classified documents, Gentry reveals exactly how a paranoid director created the fraudulent myth of an invincible, incorruptible FBI. For almost fifty years, Hoover held virtually unchecked public power, manipulating every president from Franklin D. Roosevelt to Richard Nixon. He kept extensive blackmail files and used illegal wiretaps and hidden microphones to destroy anyone who opposed him. The book reveals how Hoover helped create McCarthyism, blackmailed the Kennedy brothers, and influenced the Supreme Court; how he retarded the civil rights movement and forged connections with mobsters; as well as insight into the Watergate scandal and what part he played in the investigations of President John F. Kennedy and Martin Luther King Jr.