Apache conceptions of wisdom, manners and morals, and of their own history are inextricably intertwined with place, and by allowing us to overhear his conversations with Apaches on these subjects Basso expands our awareness of what place can mean to people.Most of us use the term "sense of place" often and rather carelessly when we think of nature or home or literature. Our senses of place, however, come not only from our individual experiences but also from our cultures. "Wisdom Sits in Places," the first sustained study of places and place-names by an anthropologist, explores place, places, and what they mean to a particular group of people, the Western Apache in Arizona. For more than thirty years, Keith Basso has been doing fieldwork among the Western Apache, and now he shares with us what he has learned of Apache place-names--where they come from and what they mean to Apaches."This is indeed a brilliant exposition of landscape and language in the world of the Western Apache. But it is more than that. Keith Basso gives us to understand something about the sacred and indivisible nature of words and place. And this is a universal equation, a balance in the universe. Place may be the first of all concepts; it may be the oldest of all words."--N. Scott Momaday"In "Wisdom Sits in Places" Keith Basso lifts a veil on the most elemental poetry of human experience, which is the naming of the world. In so doing he invests his scholarship with that rarest of scholarly qualities: a sense of spiritual exploration. Through his clear eyes we glimpse the spirit of a remarkable people and their land, and when we look away, we see our own world afresh."--William deBuys"A very exciting book--authoritative, fully informed, extremely thoughtful, and also engagingly written and a joy to read. Guiding us vividly among the landscapes and related story-tellings of the Western Apache, Basso explores in a highly readable way the role of language in the complex but compelling theme of a people's attachment to place. An important book by an eminent scholar."--Alvin M. Josephy, Jr.

    It avoids the typical encyclopedic approach of surveys in favor of examining selected but highly representative works in greater depth and from an enlarged spectrum of critical discourse. Organized along chronological lines, topics explore the ideas, forms, events, artists, and works with each chapter devoted to a style, movement, or decade from Cezanne, Seurat, Gauguin, and Van Gogh through Minimalism and the general reaction known as Post-Modernism. Ideal for readers with a "general" interest in art. "

    As they had done throughout Europe, the Nazis could now plunder the masterpieces of the Renaissance, the treasures of the Vatican, and the antiquities of the Roman Empire. On the eve of the Allied invasion, General Dwight Eisenhower empowered a new kind of soldier to protect these historic riches. In May 1944 two unlikely American heroes--artist Deane Keller and scholar Fred Hartt--embarked from Naples on the treasure hunt of a lifetime, tracking billions of dollars of missing art, including works by Michelangelo, Donatello, Titian, Caravaggio, and Botticelli. With the German army retreating up the Italian peninsula, orders came from the highest levels of the Nazi government to transport truckloads of art north across the border into the Reich. Standing in the way was General Karl Wolff, a top-level Nazi officer. As German forces blew up the magnificent bridges of Florence, General Wolff commandeered the great collections of the Uffizi Gallery and Pitti Palace, later risking his life to negotiate a secret Nazi surrender with American spymaster Allen Dulles.Brilliantly researched and vividly written, the New York Times bestselling Saving Italy brings readers from Milan and the near destruction of The Last Supper to the inner sanctum of the Vatican and behind closed doors with the preeminent Allied and Axis leaders: Roosevelt, Eisenhower, and Churchill; Hitler, Goring, and Himmler.An unforgettable story of epic thievery and political intrigue, Saving Italy is a testament to heroism on behalf of art, culture, and history.

    There is no question that Robert Frank's The Americans is the most famous and influential photography book ever published. It was 1959 when the book first came out: a series of deceptively simple photographs that Frank took on a trip through America in '55 and '56, pictures of normal people, everyday scenes: lunch counters, bus depots, cars, and the stangely familiar faces of people we don't quite know but have seen somewhere. They are pictures that saw the "American way of life" as we hadn't yet quite been able to see it ourselves, photographs that condensed the entire life of a nation in classic images that still speak to us today, forty years and several generations later.

    In the essay, originally published in Spanish in 1925, Ortega grappled philosophically with the newness of nonrepresentational art and sought to make it more understandable to a public confused by it. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century.The dehumanization of the title, which was meant descriptively rather than pejoratively, referred most literally to the absence of human forms in nonrepresentational art, but also to its insistent unpopularity, its indifference to the past, and its iconoclasm. Ortega championed what he saw as a new cultural politics with the goal of a total transformation of society.Ortega was an immensely gifted writer in the best belletristic tradition. His work has been compared to an iceberg because it hides the critical mass of its erudition beneath the surface, and because it is deceptive, appearing to be more spontaneous and informal than it really is.Princeton published the first English translation of the essay paired with another entitled Notes on the Novel. Three essays were later added to make an expanded edition, published in 1968, under the title The Dehumanization of Art and Other Essays on Art, Culture and Literature .

    This richly illustrated and expert study follows the artist from the early gloom-laden paintings in which he captured the misery of peasants and workers in his homeland, through his bright and colorful Parisian period, to the work of his final years, spent under a southern sun in Arles.

    It is also composed of basically simple elements, which, guided by a rich mythology, create images of striking power. This indispensable and beautifully illustrated book is the first to introduce everyone, from the casual observer to the serious collector of Northwest Coast prints, to the forms, cultural background and structures of this highly imaginative art. The elements of style are introduced; the myths and legends which shape the motifs are interpreted; the stylistic differences between the major cultural groupings are defined and illustrated. Raven, Thunderbird, Killer Whale, Bear: all the traditional forms are here, deftly analyzed by a professional writer and artist who has a deep understanding of this powerful culture.

    Using a unique systems approach, it brings together an extraordinary breadth of information into a highly accessible, easy-to-read text that clarifies the complexities of health care organization and finance, while presenting a solid overview of how the various components fit together.

    The text includes a short essay and commentaries on each of the paintings, and incorporates new research on Vermeer's life and extraordinary artistic achievements.

    It takes into account new finds as well as new ideas and attitudes to the subject, and emphasizes that Greek art should be seen in its proper context, not that of galleries and museums. 302 illustrations, 73 in color

    Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

    Reading across archives, canons, and continents, Lowe connects the liberal narrative of freedom overcoming slavery to the expansion of Anglo-American empire, observing that abstract promises of freedom often obscure their embeddedness within colonial conditions. Race and social difference, Lowe contends, are enduring remainders of colonial processes through which “the human” is universalized and “freed” by liberal forms, while the peoples who create the conditions of possibility for that freedom are assimilated or forgotten. Analyzing the archive of liberalism alongside the colonial state archives from which it has been separated, Lowe offers new methods for interpreting the past, examining events well documented in archives, and those matters absent, whether actively suppressed or merely deemed insignificant. Lowe invents a mode of reading intimately, which defies accepted national boundaries and disrupts given chronologies, complicating our conceptions of history, politics, economics, and culture, and ultimately, knowledge itself.

    For more than forty years, Theodora Kroeber's biography has captivated readers. Now recent advances in technology make it possible to return to print the 1976 deluxe edition, filled with plates and historic photographs that enhance Ishi's story and bring it to life.Ishi stumbled into the twentieth century on the morning of August 29, 1911, when, desperate with hunger and terrified of the white murderers of his family, he was found in the corral of a slaughter house near Oroville, California. Finally identified as a Yahi by an anthropologist, Ishi was brought to San Francisco by Professor T. T. Waterman and lived there the rest of his life under the care and protection of Alfred Kroeber and the staff of the University of California's Museum of Anthropology.Karl Kroeber adds an informative tribute to the text, describing how the book came to be written and how Theodora Kroeber's approach to the project was a product of both her era and her special personal insight and empathy.

    At the Boston Tea Party, colonial rebels played Indian in order to claim an aboriginal American identity. In the nineteenth century, Indian fraternal orders allowed men to rethink the idea of revolution, consolidate national power, and write nationalist literary epics. By the twentieth century, playing Indian helped nervous city dwellers deal with modernist concerns about nature, authenticity, Cold War anxiety, and various forms of relativism. Deloria points out, however, that throughout American history the creative uses of Indianness have been interwoven with conquest and dispossession of the Indians. Indian play has thus been fraught with ambivalence—for white Americans who idealized and villainized the Indian, and for Indians who were both humiliated and empowered by these cultural exercises. Deloria suggests that imagining Indians has helped generations of white Americans define, mask, and evade paradoxes stemming from simultaneous construction and destruction of these native peoples. In the process, Americans have created powerful identities that have never been fully secure.

    By carefully examining the context in which sculptures and paintings were produced, author Robin Osborne shows how artists responded to the challenges they faced in the formidable and ambitious world of the Greek city-state, producing the rich diversity of forms apparent in Greek art. Artistic developments of the period combined the influences of the symbolism and imagery of eastern Mediterranean art with the explorations of humanity embodied in the narratives of Greek poetry, while drawings and sculptures referred so intimately to the human form as to lead both ancient and modern theorists to talk in terms of the 'mimetic' role of art. Ranging widely over the fields of sculpture, vase painting, and the minor arts, and offering a wide selection of unusual images alongside the familiar masterpieces, this work discusses the changing forms of art, and how art was used to define men's relationships with other men, women, slaves, society, nature, and the gods.