History of art Books

Book SynopsisThe ''beauties'' - women of note - who were welcomed to the National Portrait Gallery''s early collection were those whose lives and portraits were recognized as significant to the ''civil, ecclesiastical and literary history of the nation''. This brief was interpreted to include figures as diverse as the devout Lady Margaret Beaufort, and the entertaining Lady Emma Hamilton. History''s Beauties, the first detailed study of this collection, maps a culture of femininity that reframes the Victorian fascination with women''s domestic and sentimental presence by locating it within a Parliament-centred ''national'' culture. Including an essay on the Gallery''s Trustees, the book traces the translation of their governors'' culture to a public institution through discussions of three themes in the National Portrait Gallery''s collection of women''s portraits: portraits of the Royal family and the cult of legitimacy in antiquities and in national identity; the educated woman as model of domestTrade Review'Lara Perry's interdisciplinary approach weaves together in a complex pattern many ideas, topics, and strands of thought. ... This is a stimulating book, offering much to provoke further studies.’ Reviews in History ’... provides readers with a renewed glimpse into the relationship between gender and culture in the Victorian era.’ Victorian Studies ’... [a] fascinating and thoughtful book...’ Museum and Society ’... a refreshing addition to the literature of museum studies.’ The Art BookTable of ContentsContents: Introduction: The nation's beauties: women in the nineteenth-century museum; Women, the National, and the Portrait Gallery; Victoria and her predecessors; Sentimental histories; Beauty; The arts of women; Conclusion: The varieties of the public woman; Appendix 1: The trustees of the National Portrait Gallery; Appendix 2: List of women's portraits acquired by the National Portrait Gallery between 1856 and 1900; Notes; Bibliography, Index.

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Book SynopsisJohn Everett Millais (1829-1896) is undoubtedly among the most important of Victorian artists. In his day, and our own, he remains also the most controversial. While, during his lifetime, controversy centred around his early Pre-Raphaelite paintings, in particular Christ in the house of his Parents (1850), during the twentieth century the most intense criticism has been directed towards Millais's later works, such as Bubbles (1886), which has been widely condemned as sentimental 'kitsch'. These later paintings have been held up as the epitome of the degradation of art, against which avant-garde and Modernist pioneers struggled. None of the existing literature on Millais addresses the fundamental problem that this double-identity reveals. While there is extensive material on the Pre-Raphaelite movement in general, Millais's own work after the 1850s is rarely discussed in detail, despite the fact that he lived and worked for another 30 years after his abandonment of the Pre-RaphaeliteTrade ReviewIn this perceptive and well argued study Mr Barlow offers a re-evaluation of Millais and challenges the accepted view that Millais was only 'a purveyor of kitsch'. Contemporary Review For Barlow, instead of consigning Millais to an outmoded preciousness, those are the exact tensions and contradictions that make him a compelling model for contemporary artists today. Modern Painters, Feb 06 ' ... this is a great contribution to the serious study of Millais as a painter. Paul Barlow's new readings of so many important paintings deserve to displace the conventional myths and anecdotes. This book rewards multiple readings and provokes new understandings of familiar paintings'. The Art Book 2006 The most sustained and considered contribution to scholarship on John Everett Millais in a century, Time Present and Time Past is essential reading for anyone interested in reconsidering perhaps the most important British artist of the second half of the nineteenth century and for scholars who wish to approach Victorian art unapologetically and in full confidence of its brilliance... rarely fails to stimulate and will provide rich ground for further academic enquiry... a significant book... Victorian StudiesTable of ContentsContents: Introduction: Millais and his critics; Millais's medievalism; Millais's Ruskin; Transitional acts; Anecdotal aestheticism; Interlude; Masculine impressions; Struggles for power; Ghosts and memorials; Time present and time past: Millais's legacy; Notes; Select bibliography; Index.

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Book SynopsisThe Artist and the State, 1777-1855: The Politics of Universal History in British & French Painting is the first book-length study to examine political uses of ''universal history'', or the philosophy of history, in European art from 1777 to 1855. Daniel R. Guernsey discusses a range of mural paintings and sculptural works produced in England and France between the American Revolution and the Universal Exposition of 1855, comparing the ways artists such as James Barry, Eugène Delacroix, Paul Chenavard, David d''Angers, and Gustave Courbet expressed linear or cyclical histories of progress and decline. By considering the work of these important European artists together, he reveals not only the rich artistic interaction that took place between England and France - as well as Germany - at this time, but also how the notion of ''universal history'' was to become a major preoccupation in the work of these individual artists, each one participating in shaping a highly significant mode of eiTrade Review'This deeply researched, original book maps cultural exchanges among French and British artists through history paintings. Guernsey convincingly argues for profound cross-geographical connections rarely explored in much scholarship that is too often limited to one country.' Julie F. Codell, Arizona State University, author of The Victorian Artist (2003) As a piece of intellectual history, Guernsey‘s work makes a genuine contribution, deepening our understanding of the ideological nuances of well-known but still perplexing works. His source material is wide-ranging, his grasp of it impressive, and his choice of textual sources is generally convincing and historically justified. ...Guernsey‘s four case studies, particularly that on Delacroix, make significant and original contributions to the literature devoted to each artist, and, taken together, elaborate a sophisticated and thought-provoking thesis. Caa.reviews Daniel Guernsey's ambitious, meticulously researched study examines the political uses of universal history in European art from 1777 to 1855. ... Although the individual artists and works that Guernsey investigates have been quite thoroughly studied within a national context, what distinguishes this book is its transnational and comparative approach and its focus on the rich artistic crosscurrents and exchanges between England and France in the years between the American Revolution and the 1855 Exposition. ClioTable of ContentsContents: Introduction; Universal history and Protestant dissent in 18th-century England: James Barry's The Progress of Human Knowledge and Culture, 1777-1784; Degenerate civilization in France: Eugène Delacroix's library murals in the Palais Bourbon, 1838-1847; Universal history and the French left: Paul Chenavard's Social Palingenesis, 1848-1851; Rousseau's Emile and social palingenesis in Gustave Courbet's The Painters Studio, 1855; Epilogue: the legacy of universal history; Bibliography; Index.

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Book SynopsisCrossing disciplinary and chronological boundaries, this volume integrates text and image, essays and object pages to explore the processes inherent in gender representation, rather than resituating women in particular categories or spheres as other scholarly publications and exhibitions have done. Taking its lead from the ''Picturing'' Women project on which it reflects and builds, the volume makes a substantial methodological contribution to the analysis of gender discourse and visuality. It offers new and stimulating scholarship that confronts historical patterns of representation that have defined what women were and are seen to be, and presents new contexts for unveiling what art historian Linda Nochlin has called the ''mixed messages'' of representations of women.Trade Review'Re-Framing Representations of Women is nothing short of exhilarating - a cultural collaboration on a grand scale among scholars, artists, curators, and storytellers. The feminist images and essays assembled by editor Susan Shifrin provide the most comprehensive and nuanced picture to date of women in art, literature, fashion history, and material culture.' Wendy Steiner, University of Pennsylvania, USA 'Re-Framing Representations of Women is an exciting collection of pictures and texts that encourages critical thinking about gender in our visual world. This ambitious multimedia project examines medical engravings, advertisements and material culture from the eighteenth and nineteenth centuries and responses to these images in contemporary art to stimulate viewers' understanding of how ideas about women have been constructed and disseminated. It provides an engaging transnational journey for readers to explore the representations of gender in the past and imagine the paths to be created for the future.' Bridget Cooks, University of California, Irvine, USA ’...thoughtfully designed and well-illustrated volume... Recommended.’ Choice ’This is a physically sumptuous book, beautifully designed with a high quality of image reproduction and a work that offers a significant contribution to existing debates around this issue in a lively and accessible manner.’ Gender and HistoryTable of ContentsContents: Preface; Part I Picturing: Object pages: picturing; Who's in the picture? A introduction to 'picturing' women, Susan Shifrin. Part II Figuring: Object pages: figuring; Essay: Figuring the female body; Maudelle Bass: a model body, Carla Williams; Figuring as flora; Figuring the national body; Collections essay: Bryn Mawr College suffragette pageants and parades: fashioning a central and socially integrated identity, Marianne Hansen. Part III Fashioning: Object pages: fashioning; Fashioning female identity; Fashioning the female body; Fashioning national character; Essay:Sleeves, purses, spindles: fashioning women in Cesare Vecellio's costume books, Ann Rosalind Jones; Fashioning the 2 faces of Eve: the mask of beauty and fickle fraud; Fashioning woman; Essay: Felt pictures: the phenomenological fabric of Alison Watt's Shift paintings, Kristin Swan. Part IV Portraiting: Object pages: portraiting; Portraiting conventions; Collections essay: Library Company of Philadelphia. Representative portraits of American women writers from the collections of the Library Company of Philadelphia, to which is appended a preliminary checklist, Cornelia King; Types and beauties series; Essay: Not-beautiful: a counter-theme in the history of women's portraiture, Susan Sidlauskas; Essay: Nationalism, lipstick, and kitchen knives: representations of power and society in the case of Vazirani, Alexandra Halkias. Part V Telling: Object pages: telling; Essay: 'Who told you that lie?': picturing Connie Boswell, Laurie Stras; Essay 'Red robe: short story': an interview with Merrill Mason, Kelly Mitchell and Merrill Mason, edited by Susan Shifrin; Bibliography; Indexes.

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Book SynopsisAn important and critical re-evaluation of the Galerie Espagnole, this book presents new interpretations of the special collection of Spanish (or purportedly Spanish) paintings formed under Louis-Philippe and exhibited in the Louvre from 1838 through 1848. Alisa Luxenberg undertakes a new examination of the Parisian collection in relation to its lesser-known Spanish homologue, the Museo Nacional in Madrid, a collection of mostly old master Spanish paintings and sculptures that was formed at the very same time. Revealing the political agendas behind each museum, and the different manners in which their goals were pursued, Luxenberg analyzes the critical and visual reception of the collections as well as their intersection with contemporary debates about aesthetics and patrimony, the role of the art museum, and national and international politics.Trade Review’..With its impressive archival research and uncluttered writing style, this book makes a significant contribution to scholarship in French and Spanish art history and museum studies. Highly recommended...’ Choice ’The most important aspect to this valuable corrective study is that for the first time, we learn about what the Spanish thought about it all. In a finely nuanced account, Luxenberg reveals how many in the Spanish artistic establishment were either ambivalent, or indeed multivalent towards the French. There are fascinating accounts of the equivocal roles played by Carderera, Madrazo and Villaamil, all of whom would become pillars of Isabelline Madrid.’ Journal of the History of CollectionsTable of ContentsContents: The two museums from a trans-Pyrenean perspective; The Galerie Espagnole: content and critical reception in France; The protagonists and their priorities; Conception: precedents and provocations; Creation: the mission; Responses in Spain to Taylor's mission and the Galerie Espagnole; The Spanish galleries: the Museo Nacional and Museos Provinciales; Rethinking the visual legacy of the Galerie Espagnole; Closing thoughts; Bibliography; Index.

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Book SynopsisVisually appealing, conceptually startling, and intellectually engaging-these phrases aptly describe the art of Liliana Porter. Florencia Bazzano-Nelson''s study focuses on the principal theme in the Argentine-born artist''s work since the 1970s: her playful but subversive dismantling of the limits that separate everyday reality from the world of illusion and simulacra. Over the years, Porter''s own evolving interest in perception lead the author to explore a series of interconnected and timely issues in her artistic production, such as the representative function of art, the structural links between art and language, and the witty re-signification of the art-historical images and mass-produced kitsch figurines she has so often featured in her art. Strongly founded in critical theory, Bazzano-Nelson''s approach considers Porter''s art as the site of conceptually exciting dialogues with Jorge Luis Borges, René Magritte, Michel Foucault, and Jean Baudrillard. Her carefully crafted interTable of ContentsContents: Introduction; Liliana Porter's personal journey; The Magritte Series; In search of imminemt revelations; The subversive inner child; Malice in wonderland; Conclusion; Bibliography; Index.

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Book SynopsisFocusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particTable of ContentsContents: Introduction; W.B. Yeats and the Fraternité des Arts tradition; The Dun Emer and Cuala industries during the Irish cultural revival; W.B. Yeats, Norah McGuinness and Irish modernism; The pictorialist poetics of Thomas MacGreevy; Word and image relations in the later career of Jack Yeats; Bibliography; Index.

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Book SynopsisFocusing specifically on portraiture as a genre, this volume challenges scholarly assumptions that regard interior spaces as uniquely feminine. Contributors analyze portraits of men in domestic and studio spaces in France during the long nineteenth century; the preponderance of such portraits alone supports the book''s premise that the alignment of men with public life is oversimplified and more myth than reality. The volume offers analysis of works by a mix of artists, from familiar names such as David, Delacroix, Courbet, Manet, Rodin, and Matisse to less well-known image makers including Dominique Doncre, Constance Mayer, Anders Zorn and Lucien-Etienne Melingue. The essays cover a range of media from paintings and prints to photographs and sculpture that allows exploration of the relation between masculinity and interiority across the visual culture of the period. The home and other interior spaces emerge from these studies as rich and complex locations for both masculine self-expreTrade Review'The exploration of the theme of masculinity in relation to interiority is long overdue. This volume ameliorates some of the divisions that have haunted the scholarship of this period... a great addition to the roster of 19th century books.' Susan Sidlauskas, Rutgers University, USA 'Overall, the essays make case for the contingency of masculinity and the insufficiency of critical attention to that fact in modernism. While primarily of interest to historians of visual culture, the volume offers ways to understand articulations of masculinity beyond the public/private binary. The collection succeeds in giving shape to the case that understanding interiors, and the interiority expressed within them, has not just value but some urgency.' French History 'The twelve essays themselves cover a broad and exciting range of visual material across the period, from painting and sculpture to photography and fashion. Among fascinating discussions of topics such as family portraiture, the artist’s studio, and the cabinet de travail, the volume also offers engaging reflections on key nineteenth-century figures... All images are beautifully presented and meticulously set out, while an extensive bibliography provides an up-to-date resource for the fields discussed.' French StudiesTable of ContentsContents: Introduction, Temma Balducci, Heather Belnap Jensen and Pamela J. Warner; The revolution at home: masculinity, domesticity and political identity in family portraiture, 1789-1795, Amy Freund; Picturing paternity: the artist and father-daughter portraiture in post-Revolutionary France, Heather Belnap Jensen; Public and private identities in Delacroix's Portrait of Charles de Mornay and Anatole Demidoff, Jennifer W. Olmsted; At home with the camera: modeling masculinity in early French photography, Laurie Dahlberg; The artist in his studio: dress, milieu, and masculine identity, Heather McPherson; Cézanne, Manet, and the portraits of Zola, Andre Dombrowski; At home in the studio: two group portraits of artists by Bazille and Renoir, Alison Strauber; In bed with Marat: (un)doing masculinity, James Smalls; The competing dialectics of the cabinet de travail: masculinity at the threshold, Pamela J. Warner; Anders Zorn's etched portraits of American men, or the trouble with French masculinity, S. Hollis Clayson; Auguste Rodin, photography, and the construction of masculinity, Natasha Ruiz-Gómez; Matisse and self, the persistent interior, Temma Balducci; Selected bibliography; Index.

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Book SynopsisWere late nineteenth-century gender boundaries as restrictive as is generally held? In Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space, Kirstin Ringelberg argues that it is time to bring the current re-evaluation of the notion of separate spheres to these images. Focusing on studio paintings by American artists William Merritt Chase and Mary Fairchild MacMonnies Low, she explores how the home-based painting studio existed outside of entrenched gendered divisions of public and private space and argues that representations of these studios are at odds with standard perceptions of the images, their creators, and the concept of gender in the nineteenth century. Unlike most of their bourgeois contemporaries, Gilded Age artists, whether male or female, often melded the worlds of work and home. Through analysis of both paintings and literature of the time, Ringelberg reveals how art history continues to support a false dichotomy; that, in fact, paintiTrade Review'Kirstin Ringelberg combines critical theory, artist biography, and close analysis in an intellectually engaging manner to bring an understudied topic to art-historical attention. In this important book, she asks us to rethink the standard view of Gilded Age art and consider that male as well as female professional artists of the period were compelled to navigate slippery gender boundaries in their search for critical and popular esteem.' David Lubin, Wake Forest University, USATable of ContentsContents: Introduction: the studio, the domestic interior and the ideology of separate spheres; Working men and leisurely ladies: tropes of gender and the artist's studio in the late 19th century; 'The prince of the atelier': negotiating effeminacy in A Friendly Call by William Merritt Chase; 'The painter will not sink into the mother': Mary Fairchild's nursery/studio; Rendering invisible by display: representations of late 19th-century American women; Epilogue; Bibliography; Index.

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Book SynopsisWomen Artists in Interwar France: Framing Femininities illuminates the importance of the SociÃtà des Femmes Artists Modernes, more commonly known as FAM, and returns this group to its proper place in the history of modern art. In particular, this volume explores how FAM and its most famous membersâSuzanne Valadon, Marie Laurencin, and Tamara de Lempickaâbrought a new approach to the most prominent themes of female embodiment: the self-portrait, motherhood, and the female nude. These women reimagined art's conventions and changed the direction of both art history and the politics of their contemporary art world. FAM has been excluded from histories of modern art despite its prominence during the interwar years. Paula Birnbaum's study redresses this omission, contextualizing the group's legacy in light of the conservative politics of 1930s France. The group's artistic response to the reactionary views and images of women at the time is shown to be a key element in the narratiTrade ReviewA Yankee Book Peddler UK Core Title for 2011 'Ambitious and uniquely thorough in scope... a valuable contribution to the literature on motherhood and artistic production by women.' Anna Novakov, St. Mary's College of California, USA 'Drawing heavily on archival resources and feminist scholarship, Paula Birnbaum brings to light a rich cultural history of the interwar period often overlooked in histories of the avant-garde. The fact that the majority of artists will be unfamiliar to contemporary readers in no way undermines the importance of their collective endeavor, one that - carefully elucidated and beautifully illustrated in this handsome publication - sheds new light on issues of gender, modernity, female embodiment and diasporic identity during the interwar period.' Whitney Chadwick, author of Women Artists and the Surrealist Movement 'This book is an important contribution not only to a broader understanding of interwar French art, but also to the continuing need to research such hidden feminist histories.' Burlington Magazine 'The book provides the first history of Femmes Artistes Modernes (FAM), an exhibiting society established in 1930 and directed until its demise in 1938 by the artist Marie-Anne Camax-Zoegger. The Appendix, listing the names and biographical information of 181 FAM artists, is in itself a considerable contribution to scholarship. Moreover, the book is extensively illustrated, enabling analysis and comparison of previously unpublished works.' French Studies 'Women Artists in Interwar France not only restores to cultural visibility a number of women painters and sculptors who have been largely overlooked by historians of early-twentieth-century avant-gardist art, but also provides a critical framework through which to read a substantial body of art practice that does not readily conform to the stylistic and theoretical concerns of modernism as it has been canonically constituted. Informed by both primary archival research and key concepts in feminist scholarship, in this lavishly illustrated volume Paula Birnbaum illuminates the diverse representational strategies deployed by those women artists who exhibited with the Societe des femmes artistes modernes in their negotiation of both social and art critical constraints in the interwar period. The sustained interrogation of questions of femininity, modernity and (self-)representation in the work of these artists is made to seem all the more startling when set against a backdrop of rising nationalism and the resultant desire for state control over the female body in France during the 1920s and 1930s.' Woman's Art Journal 'Women Artists in Interwar France, by Paula J. Birnbaum, is an ambitious project aiming to recover the artistic lives and cultural achievements of members of a group called the Societe des Femmes Artistes Modernes (FAM), who exhibited in Paris between 1931 and 1938. By reconstructing this "little-known chapter in the history of French modernism," Birnbaum brings to light a rich socio-cultural history largely overlooked in histories of the avant-garde (p. xvii). Joining scholars working over the past four decades in gender and modernism studies, Birnbaum offers a fresh critique of women's contributions to visual culture between the wars, and attempts to unravel why so many of them have been excluded from the canon of art history. Her new book adds to a growing literature in this area.' H-France '... abundantly demonstrate[s] the importance of going beyond well-known artists, probing instead the social, economic and political contexts that defined what was and what was not available to women artists in general at particular places and times.' Art HistoryTable of ContentsContents: Preface; Framing femininities; FAM: modern women artists; Modern madonnas; Masquerade; Self-effacement; Negotiating the nude; Painting the perverse; Conclusion: what became of the FAM?; Appendix; Bibliography; Index.

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Book SynopsisAn account of the painter Claude Monet, one of the key founders of the Impressionist movement and arguably the most influential painter of modern times. It tells the story of his life, the historical context of society at the time, and his relationships with Renoir, Sisley and Manet.

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Book SynopsisThis comprehensive new book is an essential volume for anyone who wants to learn more about this intriguing artist, and to survey their greatest works in one beautfully illustrated collection.

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Book SynopsisAn impressive new reference book on the life and works of Renaissance man Michelangelo - sculptor, painter, architect, engineer and poet

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Book SynopsisProvides an in-depth and diverse suvery of 1,400 years of art and architecture from ornate mosques and pottery, to calligraphy, carpets and costume

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Book SynopsisAn expert and comprehensive new reference book on the life and works of influential artist, engineer, inventor and scientist Leonardo da Vnci

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Book SynopsisAn expert and comprehensive new reference book on the life and works of the influential impressionist artist, Pierre-Auguste Renoir.

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Book SynopsisA comprehensive new reference book on the influential impressionist artist Edgar Degas, providing a detailed exploration of his life and the times in which he lived as well as a gallery of his best-known and most-loved works.

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Book SynopsisAn in-depth study of the artist in context, with a gallery of 300 celebrated paintings.

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Book SynopsisAn account of the Italian painter, architect and draughtsman, Raphael, one of the most influential artists of the High Renaissance. It explores his style and his compassionate depictions of Madonna and child groups, his portraits and his works based on Bible stories and myths.

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Book SynopsisA lively and expert account of Edouard Manet, one of the greatest French artists, whose striking realism has led to him being called the first modern painter. Vivid biography is combined with a superb gallery of his work, with 500 stunning reproductions and photographs.

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Book SynopsisAn expert account of the post-Impressionist artist, Paul Gaughin, who defied convention to pursue his art in the South Seas; stunning illustrated throughout.

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Book SynopsisAn insightful biography and showcase of the celebrated and influential Baroque painter, sumptuously illustrated throughout.

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Book SynopsisThe Marabou Mule. The Chanel toe. Jackie O''s pump. Marilyn''s stiletto. And lotus shoes and fetish shoes, shoes made for coronations and inaugurations, Cinderella''s slipper, shoes of tulle, brocade, rhinestone, python, fish scales, and feathers, and much, much, more, including the two-foot-high wooden chopines of the 16th century and their resurgence as the platform shoes of the 1960s and 1970s.Shoes, now with over 357,000 copies in print, is an obsessive, over-the-top extravaganza-chunky, full-color, and irresistible, it contains page after page of seductive photographs and information about women''s shoes.Created for the woman who''s a passionate shoe lover-and what woman isn''t?--Shoes features over 1,000 glorious photographs, most of them taken for the book. Includes Footnotes (fascinating facts about shoes); Foot Soldiers (profiles of master shoemakers from David Little to Andrea Pfister); and The Shoe that Left an Imprint, focusing on one shoe that changed history-remember Cour

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Book Synopsis“We are made of star stuff.”—Carl Sagan Give someone you know a pat on the back. A special thank-you. A big thumbs-up! In dozens of inspiring, uplifting quotes rendered as beautiful hand-lettered art by more than 30 popular graphic designers and artists, this little book of great thoughts is motivation and affirmation made timeless. Plus there are playlists, book and movie recommendations, upbeat activities—even recipes for sweet pick-me-ups.

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Book SynopsisCelebrate 45 women artists, and gain inspiration for your own practice, with this beautiful exploration of contemporary creators from the founder of The Jealous Curator. Walk into any museum, or open any art book, and you''ll probably be left wondering: where are all the women artists? A Big Important Art Book (Now with Women) offers an exciting alternative to this male-dominated art world, showcasing the work of dozens of contemporary women artists alongside creative prompts that will bring out the artist in anyone!This beautiful book energizes and empowers women, both artists and amateurs alike, by providing them with projects and galvanizing stories to ignite their creative fires. Each chapter leads with an assignment that taps into the inner artist, pushing the reader to make exciting new work and blaze her own artistic trail. Interviews, images, and stories from contemporary women artists at the top of their game provide added inspiration, and h

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Book SynopsisThe most comprehensive book on the paintings and frescoes of Florence -- with nearly 2,000 beautifully reproduced artworks from the city''s great museums and churches -- is now available in a practical and elegant paperback format. From the paintings on display at the Uffizi Gallery, to the Pitti Palace, to the Accademia, to the Duomo and more, Florence: The Paintings & Frescoes is a rich and magnificent collection of some of the finest art in the world. This stunning book provides a thorough look at the masterpieces housed in the Renaissance art capital of the world including the art of Giotto, Leonardo da Vinci, Michelangelo, Ghirlandaio, Correggio, Botticelli, Caravaggio, Titian, Rembrandt, van Dyck, El Greco and hundreds more. Explore the history of art in Florence through seven introductory essays by Ross King, bestselling author of Brunelleschi''s Dome and Michelangelo and the Pope''s Ceiling, which connects how the paintings, politics, and every-day lives of Florentines influence one another. Art historian Anja Grebe, author of The Louvre and The Vatican, also highlights 250 of the most iconic and significant paintings and frescoes in the historic city.

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Book SynopsisUncover the artistic masterworks hidden across New York City in this charmingly illustrated exploration of one of the world's greatest creative treasure troves.There's so much to love about New York, and so much to see. The city is full of art, and architecture, and history -- and not just in museums. Hidden in plain sight, in office building lobbies, on street corners, and tucked into Soho lofts, there's a treasure trove of art waiting to be discovered, and you don't need an art history degree to fall in love with it.Art Hiding in New York is a beautiful, giftable book that explores all of these locations, traversing Manhattan to bring 100 treasures to art lovers and intrepid New York adventurers. Curator and urban explorer Lori Zimmer brings readers along to sites covering the biggest names of the 20th century -- like Jean-Michel Basquiat's studio, iconic Keith Haring murals, the controversial site of Richard Serra's Ti

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Book SynopsisFor decades the prominent image of a ballet dancer has been a white body with pale clothing. It took 75 years for American Ballet Theatre to have its first African American female principal dancer, Misty Copeland. When TaKiyah Wallace-McMillian went to enrol her three-year-old daughter into her first ballet class, she immediately saw this lack of diversity and representation-even on her local dance studio''s website. Within weeks TaKiyah, a freelance photographer, began shooting a project she called Brown Girls Do Ballet, which eventually became an Instagram hit and a non-profit organization that provides resources, mentorship, inspiration, and encouragement to young dancers of colour worldwide.For her first book, The Color of Dance, TaKiyah travelled around the United States seeking out dancers of African, Asian, East Indian, Hispanic, and Native American ancestry. With these more than 190 breath-taking images of colourful ballerinas of all ages and levels, both

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Book SynopsisParis is the city of light, the city of love, and the city of more art than you could possibly explore in a lifetime-and not just in museums. Tucked away in tree-lined parks, preserved in world class restaurants, emblazoned on Metro station walls, and hidden in the most unexpected places are masterpieces worthy of the Louvre, if you know where to look! In this whimsically illustrated celebration of Parisian art and artists, author and curator Lori Zimmer highlights more than 100 treasures. From the gorgeous remnants of the Art Nouveau era to the homes of some of the world''s most influential artists-including Vincent Van Gogh, Pablo Picasso, and more-to an introduction to the modern masters of urban art, there are endless riches to be explored. Discover art that was hidden for decades inside cafes, shops and even a Belle Époque brothel! Paris will surprise you.Illustrated by artist Maria Krasinski, this book provides curated itineraries for dreaming up your next urba

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Book SynopsisA stunning package for classic film buffs and drinks enthusiasts alike, all the “forbidden” fun of Pre-Code Hollywood and the Prohibition and speakeasy era meet in this stylish cocktail book.   What might Jean Harlow have sipped for Dinner at Eight? What did Barbara Stanwyck take to steel herself in Baby Face? If you’re a classic film fan who’s ever pondered these questions, or are a bartender or at-home entertainer who adores Prohibition-era cocktails, this guide to mixed drinks inspired by Pre-Code Hollywood is essential reading. The stars and stories of the “forbidden” time in moviemaking before strict censorship was enforced and the movies reflected a raucous freedom that would be unseen again for decades take the spotlight in Forbidden Cocktails. With 50 film-and-drink pairings and packaged handsomely with more than 100 full-color and black-and-white photos throughout, this is a practical and stu

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Book SynopsisAn illuminating exploration of 31 incredible women?across art, architecture, dance, literature, and more?whose culture-defining contributions have, until now, been overshadowed by their role as muses to history''s better-known men. What does it mean to be someone''s muse? Historically, to be called a ?muse? among artistic circles has been marketed as a flattering title. It is a commendation that most often refers to a woman whose vivacity and beauty are the source of inspiration for a (usually) male artist or creator. Perhaps her inspiring presence is even credited in the story of his success. But the very concept of a muse underestimates these women and their abilities. At its root, muse is a support role, the title a consolation prize that claims to recognize a woman?s greatness?but only in her support of another.I''m Not Your Musereclaims the narrative of 31 of these extraordinary women, from The Mother of the Movies Alice Guy-Blaché to Modernist designer Eileen Gray, prima ballerina Maria Tallchief, storied Harlem Renaissance editor Jessie Redmon Fauset, and many more. Each of these women advanced the narrative of culture and society, pushing the boundaries of visual arts, dance and movement, commercial architecture, music, journalism, and the performing arts. Whether by historical accident or cruel design, their contributions have historically been overshadowed by those of their male counterparts, and often collaborators. In this briskly written, incisively researched compendium, author and researcher Lori Zimmer repositions these women as the main characters of their own lives. Each profile is accented with original illustrations?including jaunty portraits in playfully constructed frames?by artist Maria Krasinski. Together, theyhighlight the contemporary accomplishments and historical legacies of a wide-ranging group of revolutionary women. Featured women include: Louise Blanchard Bethune Claude Cahun and Marcel Moore Minnette de Silva Clara Driscoll Jessie Redmon Fauset Loie Fuller Martha Gellhorn Eileen Gray Belle da Costa Greene Alice Guy-Blaché Miss La La Edmonia Lewis Neysa McMein Hildreth Meière Lucia Moholy May and Jane Morris Na Hye-Sok Fernande Olivier Pan Yuliang Ethel Reed Clara Rockmore Ada Bricktop Smith Maria Tallchief Alice B. Toklas Suzanne Valadon Baroness Elsa von Freytag-Loringhoven Leonora Carrington Remedios Varo Kati Horna

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Book SynopsisDraw a card and gain inspiration from 40 incredible women—across art, architecture, dance, literature, and more—whose culture-defining contributions have, until now, been overshadowed by their role as 'muses' to history's better-known men.  What does it mean to be someone's 'muse'? Historically, to be called a “muse” among artistic circles has been marketed as a flattering title. It is a commendation that most often refers to a woman whose vivacity and beauty are the source of inspiration for a (usually) male artist or creator. This deck, from author-researcher Lori Zimmer and artist Maria Krasinski, repositions 40 of these women—casting them as the main characters of their own narratives and allowing users to draw inspiration from these iconic cultural figures, from 'The Mother of the Movies' Alice Guy-Blaché to Modernist designer Eileen Gray, prima ballerina Maria Tallchief, storied Harlem Renaissance editor Jessie Redmon Fauset, and many more. Each of these women advanced the narrative of culture and society, pushing the boundaries of visual arts, dance and movement, commercial architecture, music, journalism, and the performing arts. Whether by historical accident or cruel design, their contributions have historically been overshadowed by those of their male counterparts, and often collaborators.  This set includes:  40 full-color inspiration cards. These vibrantly illustrated cards (3 X 5') depict original portraits of each of the inspiring women, and are perfect to display or incorporate into inspiration readings, self-care rituals, or personal artistic practices. 88-page, fully illustrated paperback guidebook. This enclosed guidebook features brief, engagingly written snapshots of the women on the cards, each with key information about their lives, careers, and legacies. Magnetic closure case. This durable magnetic closure case is perfectly sized for travel or display, and holds the paperback book and cards securely in dedicated sleeves. Featured women include: Amanda Aldridge  Louise Blanchard Bethune  Claude Cahun and Marcel Moore  Leonora Carrington  Minnette de Silva  Clara Driscoll  Jessie Redmon Fauset  Loie Fuller  Martha Gellhorn  Eileen Gray  Belle da Costa Greene  Alice Guy-Blaché  Malvina Hoffman  Katie Horna  Lois Mailou Jones   Miss La La  Edmonia Lewis  Neysa McMein  Hildreth Meière  Victorine Meurent  Lee Miller  Lucia Moholy  Jane Morris  May Morris  Na Hye-Sŏk  Fernande Olivier  Pan Yuliang  Ethel Reed  Aurora Reyes  Clara Rockmore  Amrita Sher-Gil  Barbara Shermund  Ada “Bricktop” Smith  Maria Tallchief  Alice B. Toklas  Suzanne Valadon  Rose Valland  Remedios Varo  Baroness Elsa von Freytag-Loringhoven  Sada Yacco 

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Book SynopsisDiscover dozens of underappreciated landmarks and the stories behind them in this unique history on New York City, written and photographed by Landmarks of NY creator, Tommy Silk.New York is a city of landmarks - more than 37,000 of them. Visitors and New Yorkers walk by hundreds of these landmarks daily, often never knowing the rich history behind each of these buildings. One of these New Yorkers, Tommy Silk, has been photographing and chronicling a landmarked building every day for the last five years on his Instagram account, Landmarks of NY. In Hidden Landmarks of New York, Silk uncovers 120 of the city''s oldest, most unique, and often relatively unknown landmarks and the hidden history behind them. Whether it''s an African Graveyard a stone''s throw from City Hall; the Truman Capote house in Brooklyn Heights that he claimed to own (but actually just rented a room there for years); or 4 Gramercy Park West, the Greek Revival-style townhouse that is rumored to be the home of Stuart Little; each entry includes a picture of the landmark with a short, informative description of its history and its past (often well-known) inhabitants.With 120 photographs beautifully designed in a portable book, it''s perfect for armchair perusal or to stash in your backpack while wandering around the city.

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Book Synopsis This new biographical look at Leonardo da Vinci explores the Renaissance master''s groundbreaking portrayal of women which forever changed the way the female form is depicted. Leonardo da Vinci was a revolutionary thinker, artist, and inventor who has been written about and celebrated for centuries. Lesser known, however, is his revolutionary and empowering portrayal of the modern female centuries before the first women''s liberation movements. Before da Vinci, portraits of women in Italy were still, impersonal, and mostly shown in profile. Leonardo pushed the boundaries of female depiction having several of his female subjects, including his Mona Lisa, gaze at the viewer, giving them an authority which was withheld from women at the time. Art historian and journalist Kia Vahland recounts Leonardo''s entire life from April 15, 1452, as a child born out of wedlock in Vinci up thro

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Book SynopsisA study of old west art and antiques from the golden state.

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