. . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two." --Roger Lowenstein, The Wall Street JournalA captivatingstudy of Napoleon's plundering of Europe's art for the Louvre, told through the story of a Renaissance masterpiece seized from VeniceCynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings.As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness--to carry forward the finest aspects of civilization--and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.

    Carlo Ginzburg uses the trial records of Domenico Scandella, a miller also known as Menocchio, to show how one person responded to the confusing political and religious conditions of his time.For a common miller, Menocchio was surprisingly literate. In his trial testimony he made references to more than a dozen books, including the Bible, Boccaccio's Decameron, Mandeville's Travels, and a "mysterious" book that may have been the Koran. And what he read he recast in terms familiar to him, as in his own version of the creation: "All was chaos, that is earth, air, water, and fire were mixed together; and of that bulk a mass formed—just as cheese is made out of milk—and worms appeared in it, and these were the angels."

    A study of German culture between the two wars, the book brilliantly traces the rise of the artistic, literary, and musical culture that bloomed ever so briefly in the 1920s amid the chaos of Germany's tenuous post-World War I democracy, and crashed violently in the wake of Hitler's rise to power. Despite the ephemeral nature of the Weimar democracy, the influence of its culture was profound and far-reaching, ushering in a modern sensibility in the arts that dominated Western culture for most of the twentieth century. Vivid and eminently readable, Weimar Culture is the finest introduction for the casual reader and historian alike.

    This period of profound evolution in European thought is credited with transforming the West from medieval to modern and producing the most astonishing outpouring of artistic creation the world has ever known. But what was it? In this masterly work, the incomparable Paul Johnson tells us. He explains the economic, technological, and social developments that provide a backdrop to the age’s achievements and focuses closely on the lives and works of its most important figures. A commanding short narrative of this vital period, The Renaissance is also a universally profound meditation on the wellsprings of innovation.

    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.

    Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and Marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the "miniature" as a metaphor for interiority and at the "gigantic" as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the "souvenir" and the "collection" are objects mediating experience in time and space.

    In this fascinating study, Rozsika Parker traces a hidden history--the shifting notions of femininity and female social roles--by unraveling the history of embroidery from medieval times until today.

    It was to be an age of post-Impressionistic color, form and wonderment that the art world discovered only after the master's death. Bouts of anxiety, mental illness and epilepsy may have tormented him and brought about his suicide at the age of 37. But they may also have been catalysts for emotionality and vibrance in his art that reveal a turbulent search for grace.The compilation of Vincent Van Gogh's 500 finest color paintings in this online volume comes to you in a digitally restored state: the eye-popping brilliance and vitality are just as on the day Van Gogh finished them. Unless noted otherwise, all of them were originally oil paintings on canvas or wood (the few exceptions are watercolors). The arrangement is by genre (see the list below) and is chronological within each genre section. There are a few duplicates, that is, some paintings from one genre are also shown within the scope of another genre in order to emphasize their "dual nature." This is especially true for the images in "Skyscapes," many of which are reprised from "Landscapes" or other relevant genres to afford you, the viewer, with a fresh perspective on a different aspect of the composition.Technical Note: All 500 images are in color -- they render beautifully in optimized gray-scale tones for black-and-white e-book readers, but exhibit even more stunningly in full color with color readers and inside Kindle apps for color-enabled computers and portable or hand-held devices.The masterpieces are organized into the following genres (with the tally of images in each):PORTRAITS (24)SELF-PORTRAITS (18)CHARACTER AND ACTION STUDIES (31)LABORERS (37)TOWNSCAPES: FROM A DISTANCE (17)TOWNSCAPES: FROM INSIDE THE TOWN (30)BUILDINGS: FROM AN EXTERIOR PERSPECTIVE (35)BUILDINGS: INTERIOR DESIGN (17)BIRDS (2)ANIMALS (7)FLOWERS AND GARDENS: LIVING AND GROWING (20)FLOWERS: FLORAL ARRANGEMENTS (29)STILL LIFE (45)TREES (50)LANDSCAPES (50)WATERSCAPES: THE SEA (6)WATERSCAPES: RIVERS, CANALS AND BRIDGES (23)SKYSCAPES (38)NIGHTSCAPES: AT SUNSET (14)NIGHTSCAPES: BY MOONLIGHT (3)NIGHTSCAPES: STARRY NIGHTS (5)NIGHTSCAPES: AT SUNRISE (1)

    Even under the Protestantism of the reformed Church, the spiritual and social dramas of birth, marriage, and death were graced with elaborate ceremony. Powerful and controversial protocols were in operation, shaped and altered by the influences of the Reformation, the Revolution, and the Restoration.Each of the major rituals was potentially an arena for argument, ambiguity, and dissent. Ideally, as classic rites of passage, these ceremonies worked to bring people together. But they also set up traps into which people could stumble, and tests which not everybody could pass. In practice, ritual performance revealed frictions and fractures that everyday local discourse attempted to hide or to heal. Using fascinating first-hand evidence, David Cressy shows how the making and remaking of ritual formed part of a continuing debate, sometimes strained and occasionally acrimonious, which exposed the raw nerves of society in the midst of great historical events. In doing so, he vividly brings to life the common experiences of living and dying in Tudor and Stuart England.

    Venice's rich history is explored by a resident historian, and descendent from a patrician Ventian family in this beautifully illustrated study.  Readers are guided from 5th century Venice to present day, uncovering historical facts, legends and catching glimpses into the lives of it's people, many of which are the authors own colorful ancestors.

    Yet why, over three hundred years after it began, is the Enlightenment so profoundly misunderstood as controversial, the expression of soulless calculation? The answer may be that, to an extraordinary extent, we have accepted the account of the Enlightenment given by its conservative enemies. Ritchie Robertson goes back into the “long eighteenth century,” from approximately 1680 to 1790, to reveal what this much-debated period was really about.Any account of the Enlightenment must be in large part a history of ideas. But Robertson argues that it is not solely a philosophical movement; the Enlightenment saw the publication of the Encyclopédie, which is not only a historical and philosophical compendium, but also an illustrated guide to all sorts of contemporary machinery, handicrafts, and trades aimed to improve people’s lives in immediate and practical ways. Robertson chronicles the campaigns mounted by some Enlightened figures against specific evils such as capital punishment, judicial torture, serfdom and witchcraft trials, featuring the experiences of major figures like Voltaire and Diderot with ordinary people who lived through this extraordinary moment. Robertson gives due attention to philosophical and theological debates, but also looks to literature, music, and the visual arts as prominent means of conveying enlightenment ideas.In seeking to correct one-sided views of the Enlightenment, Robertson ultimately puts forward his own. He does not reduce this transformative period to a formula, but instead makes the claim that indeed the Enlightenment was an attempt to increase human happiness, and to claim that happiness was possible in this world, without needing any compensatory belief in a better one beyond the grave.

    The Ponte di Ghetto Nuovo, the bridge that leads to the ghetto, trembles under the weight of sacks of rotting vegetables, rancid fat, and vermin. Shapeless matter, perhaps animal, floats to the surface of Rio di San Girolamo and hovers on its greasy waters. Through the mist rising from the canal the cries and grunts of foraging pigs echo. Seeping refuse on the streets renders the pavement slick and the walking treacherous.  It was on such a night that the men came for Hannah.—Hannah Levi is known throughout sixteenth-century Venice for her skill in midwifery. When a Christian count appears at Hannah's door in the Jewish ghetto imploring her to attend his labouring wife, who is nearing death, Hannah is forced to make a dangerous decision. Not only is it illegal for Jews to render medical treatment to Christians, it's also punishable by torture and death. Moreover, as her Rabbi angrily points out, if the mother or child should die, the entire ghetto population will be in peril. But Hannah’s compassion for another woman’s misery overrides her concern for self-preservation. The Rabbi once forced her to withhold care from her shunned sister, Jessica, with terrible consequences. Hannah cannot turn away from a labouring woman again. Moreover, she cannot turn down the enormous fee offered by the Conte. Despite the Rabbi’s protests, she knows that this money can release her husband, Isaac, a merchant who was recently taken captive on Malta as a slave. There is nothing Hannah wants more than to see the handsome face of the loving man who married her despite her lack of dowry, and who continues to love her despite her barrenness. She must save Isaac.Meanwhile, far away in Malta, Isaac is worried about Hannah’s safety, having heard tales of the terrifying plague ravaging Venice. But his own life is in terrible danger. He is auctioned as a slave to the head of the local convent, Sister Assunta, who is bent on converting him to Christianity. When he won’t give up his faith, he’s traded to the brutish lout Joseph, who is renowned for working his slaves to death. Isaac soon learns that Joseph is heartsick over a local beauty who won’t give him the time of day. Isaac uses his gifts of literacy and a poetic imagination—not to mention long-pent-up desire—to earn his day-to-day survival by penning love letters on behalf of his captor and a paying illiterate public. Back in Venice, Hannah packs her “"birthing spoons”—secret rudimentary forceps she invented to help with difficult births—and sets off with the Conte and his treacherous brother. Can she save the mother? Can she save the baby, on whose tiny shoulders the Conte’s legacy rests? And can she also save herself, and Isaac, and their own hopes for a future, without endangering the lives of everyone in the ghetto?The Midwife of Venice is a gripping historical page-turner, enthralling readers with its suspenseful action and vivid depiction of life in sixteenth-century Venice. Roberta Rich has created a wonderful heroine in Hannah Levi, a lioness who will fight for the survival of the man she loves, and the women and babies she is duty-bound to protect, carrying with her the best of humanity’s compassion and courage.

    Alabama was the terror of the Atlantic Ocean. Built in secrecy in Liverpool, England, through the arrangement of Confederate agent Commander James Bulloch, it was built for the fledgling Confederate States Navy which was sorely in need of ships. Under the command of Raphael Semmes it would spend the next two years terrorising and attacking Union shipping to help the Confederacy break the stranglehold which it found itself in. Through these two years it completed seven highly successful expeditionary raids, and it had been at sea for 534 days out of 657, never visiting a single Confederate port. They boarded nearly 450 vessels, captured or burned 65 Union merchant ships, and took more than 2,000 prisoners without a single loss of life from either prisoners or their own crew. Fifth Lieutenant Arthur Sinclair, who served under Semmes on the Alabama for the entirety of its existence, documents a fascinating first-person account of life on board this Confederate raider. As they crisscrossed over the oceans Sinclair notes the ships they attacked, prisoners they took and various places they visited, from Brazil to South Africa. Powered by both sail and steam, the Alabama was one of the quickest ships of its era, reaching speeds of over 13 knots. But in the quest for speed there had been sacrifices, notably the lack of heavy armor-cladding and larger guns, which were to prove fatal during the Battle of Cherbourg in 1864 against the U.S.S. Kearsage. Two Years on the Alabama is an excellent account of naval operations of the confederacy during the American Civil War. It provides brilliant details into the revolutionary changes that were occurring in late-nineteenth century maritime developments. After the Alabama was sunk Sinclair was rescued by the English yacht Deerhound and taken to Southampton. He later served as an officer of the inactive cruiser CSS Rappahannock at Calais, France. Following the Civil War, he primarily lived in Baltimore, Maryland, where he was a merchant. In 1896 he published Two Years on the Alabama. Arthur Sinclair died in Baltimore in November 1925.

    Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.

    Nine young nuns, intoxicated by Luther's subversive writings, became restless and longed to leave their convent. On Good Friday 1523 a haulier smuggled them out hidden in empty herring barrels. Five of them settled in Wittenberg, the very eye of the storm, and one of them - Katharina von Bora - scandalised the world by marrying the revolutionary former monk. Following a near miscarriage, she is confined to her bed to await the birth of their first child; during this time, she sets down her own story. Against a backdrop of 16th Century Europe this vivid account of Katharina von Bora's early life brings to the spotlight this spirited and courageous woman.