History of art Books

Book SynopsisThis publication appears on the occasion of Luc Tuymans'' retrospective exhibition in Hungary. With innumerable analyses by art historians, we thought the most fitting and exciting accompaniment to this display would be a collection of writers'' reflections on Tuymans'' work. Since one of the things to make this retrospective display special is its being the artist''s debut in Central-Europe, Hungary and Poland, we made a point of inviting authors from the region to comment on his art. We gave complete liberty to our authors to decide what to reflect on: a picture, Tuymans'' activity as a painter, or some other aspect of his personality.

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Book SynopsisA Prayer Book owned by the Rothschilds, an Italian bronze casket by Antico, a lavishly illustrated Carnival chronicle from sixteenth-century Germany, an altarpiece by Pieter Brueghel the Younger - much of the artwork in this book, held by Australian collections, is essentially unknown beyond the continent. The authors of these essays showcase these extraordinary objects to their full potential, revealing a wide range of contemporary art and historical research. This collection of essays will surprise even specialists.Trade Review"This generously illustrated and striking collection of essays will be of particular interest to those who specialize in medieval and Renaissance illustrated books as well as histories of collecting early modern objects beyond Europe." - Andrea Bubenik, Renaissance Quarterly, Volume 72, Issue 4, January 2020 "The recently appointed Herald Chair of Fine Arts at Melbourne, Anne Dunlop, has brought together a fine compendium of papers published to great effect by Amsterdam University Press [...] Antipodean Early Modern, even though it is composed of a series of 15 conference papers presented in academic style with their abstracts, is eminently readable by amateur and specialist alike. The quality of the generous selection of reproduced art is superb, with those gorgeous lapis blues, attention to minutiae and the sheer beauty of the written word a true joy to behold." - Brett Allen-Bayes, Limelight, Australia's Classical Music and Arts Magazine (2019). "Antipodean Early Modern focuses on underpublished works of art, as well as celebrated ones, giving them greater exposure to scholars and museum-goers. The variety of methodologies, aims and results points to the richness of interpretation inspired by the collections under consideration." - Elizabeth J. Moodey, Vanderbilt University "The innovation here is two-fold: bringing together a range of important manuscripts and artworks in Australian collections to an international audience to invite more scholarly attention and providing a wealth of current scholarly insights on these works. = A timely, illuminating collection of essays, which combines readability and rigour for scholarly audiences as well as students." - Erin Griffey, University of AucklandTable of ContentsContributors List of Figures Acknowledgments 1.Anne Dunlop, Legacies of early European art in Australian collections 2.Kay Sutton, Heaven and earth: the worlds of the Rothschild Prayer Book 3.Kate Challis, The Rothschild Prayer Book as political, social, and economic agent through the ages 4.Dagmar Eichberger, ‘Women who read are dangerous’: illuminated manuscripts and female book collections in the early Renaissance 5.Libby Melzer, Medieval parchment: two Glossed Bible books in context 6.Margaret M. Manion, Beginnings and endings: the shaping of the Book of Hours 7.Elaine Shaw, An associate of the Jouvenel Master and the Breviary of Prior François Robert 8.Bernard J. Muir, Chrysalis to butterfly: an aspect of the evolution of the Book of Hours from manuscript to print 9.Jan Fox, The Sorbonne Press and the chancellor’s manuscript 10.Hilary Maddocks, Thielman Kerver’s Book of Hours of 10 September 1522 in the Kerry Stokes Collection 11.Miya Tokumitsu, An accessory of intellect: a Renaissance writing casket from the Kerry Stokes Collection 12.Callum Reid, ‘A Very Rich Adornment’: a discussion of the Stokes Cassone 13.Ursula Betka, The Dormition of the Virgin altarpiece from the Kerry Stokes Collection 14.Larry Silver, Through the son: Pieter Brueghel the Younger's Crucifixion 15.Charles Zika, The Kerry Stokes Schembart book: festivity, fashion, and family in the late medieval Nuremberg Carnival Index

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Book SynopsisJohn Fiorillo is an independent researcher and writer on traditional and modern Japanese prints, with a particular interest in Kamigata-e (Osaka prints) and Sōsaku Hanga (Creative prints). Over time, he came to especially love and admire the actor prints produced in Osaka, a genre often overlooked by collectors and scholars. Mr. Fiorillo has regularly published in the art journal Andon (Society for Japanese Art, Leiden), contributed to the Hotei Encyclopedia of Japanese Woodblock Prints (2005), and designed and written extensive articles for the websites ViewingJapanesePrints.net" (since 1999) and OsakaPrints.com" (since 2005). Mr. Fiorillo also serves as a member of the Andon editorial board.

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Book SynopsisPaper Art III contains the wonderful works of dedicated paper artists from all over the world since 2018, exploring the infinite possibilities of paper, an ancient and common material in daily life, allowing people to rediscover the breathtaking beauty of the ordinary and perceive the survival and growth of paper in art. The exquisite paper cutting, spectacular paper sculpture, collision of photography and paper art techniques... each piece of paper artwork will be cohesive in the work of the artist''s time and effort to present the full extent of the work.In addition to existing as pure artwork, this book also shows how paper art can be used in a variety of applications. From house decoration to window decoration, to large-scale public space decoration, etc., these cases give readers the opportunity to understand and feel how the artist creates a rich sense of space, enhances environmental aesthetics, and even changes the urban temperament by changi

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Book SynopsisA talented visual storyteller, Barbara Earl Thomas has drawn from history, literature, folklore, mythology, and biblical stories over her forty-year career to reflect the social fabric of our times. Thomas’s figural and narrative imagery has a deeply philosophical and emotional force, and light and dark have been especially potent concepts in her work. This book of new works meditates on the visual experience of the body within a physical and metaphorical world of light and shadow. Based on real people, the portraits "elevate to the magnificent" her family, friends, and neighbors, as well as cultural icons of the African American literary landscape. Thomas's illumination of the human figure through her light-filled artworks and portraiture encourages the viewer to reflect on how we communicate ourselves to the world and how we perceive those among us. Exhibition dates: Chrysler Museum of Art: February 24–August 20, 2023; Wichita Art Museum: October 7, 2023–January 14, 2024; Arthur Ross Gallery, the University of Pennsylvania: February 17–May 21, 2024

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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 SynopsisWelcome to Nathalie Lété’s Enchanted World So familiar, yet so . . . strange. Just like a dream, where flowers bloom at night, berries appear to be in bursting ripeness, and birds, so singular, so unexpected, gather in front of your eyes. Piece by piece, fall under the spell of Nathalie Lété’s imagination, and revel in her breathtaking colors and imagery. Featuring: 1,000 full-color interlocking pieces Art print with puzzle image Finished puzzle is 23 4/5' x 19'

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Book Synopsis''Norman Parkinson will never go out of style'' VOGUEMeet the man who invented style. Through his beautiful photographs for British, American, French and Australian Vogue magazines, Norman Parkinson defined the way we saw fashion in 20th century, from the New Look of 1950s Paris to the Swinging Sixties in London.The breathtaking book collects hundreds of Parkinson''s greatest photographs taken for Vogue magazine, gathering pioneering fashion shoots, iconic cover images, royal portraits, celebrity pieces and more.Accompanied by detailed captions and features on key models and collaborators from Grace Coddington and Jerry Hall to Iman and HRH Princess Anne STYLE: Photographs for Vogue is a sublime, glamorous tribute to an eternally stylish magazine and the dazzling vision of a man who shaped the face of fashion across six decades.

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Book SynopsisA revelatory exploration of Mark Rothko’s paintings on paper that transforms our understanding of a preeminent twentieth-century artist

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Book SynopsisIntroducing a masterpiece from the National Gallery's collection, this compact and beautifully illustrated book explores the story behind Monet's The Water-Lily Pond.

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Book SynopsisA focus on Wright of Derby's hugely atmospheric candlelight' paintings, which have become his most popular works.

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Book SynopsisIn 2017 the Salvator Mundi was sold at auction for $450m. But is it a real da Vinci? In a thrilling narrative built on formidable research, Ben Lewis tracks the extraordinary journey of a masterpiece lost and found, lied and fought over across the centuries.In 2017, Leonardo da Vinci's small oil painting, the Salvator Mundi was sold at auction for $450m. In the words of its discoverer, the image of Christ as saviour of the world is the rarest thing on the planet by the greatest human being who ever lived'. Its dazzling price also makes it the world's most expensive painting.For two centuries art dealers had searched in vain for the Holy Grail of art history: a portrait of Christ as the Salvator Mundi by Leonardo da Vinci. Many similar paintings of greatly varying quality had been executed by Leonardo's assistants in the first half of the sixteenth century. But where was the original by the master himself?In November 2017, Christie's auction house announced they had it. But did they? TTrade Review'The story of the world’s most expensive painting is narrated with great gusto and formidably researched detail.' Charles Nicholl, Guardian 'Forensically detailed and gripping investigation into the history, discovery and sales of the painting … Through his fascinating and persuasive account, Lewis remains balanced; the Salvator Mundi might be exactly what its supporters claim it to be, even though it sits in "a pool of theories, surrounded by a tangle of conjecture, suspended from a geometry of clues".' Sunday Times ‘A page-turning tale about the most expensive painting of all time. It’s a story populated by characters straight out of a thriller: the soft-spoken but ambitious art dealer, the Russian oligarch in the middle of a messy divorce, the shadowy Swiss storage king who sidelines as a dealer, the Saudi prince eager to polish his reputation with a cleansing spritz of high art. Mr. Lewis interweaves the many threads of an intricate tale into the story of the dramatic restoration, sale and resale of the Salvator Mundi.’ Wall Street Journal ‘As Lewis chronicles the quest to attribute the painting to da Vinci, he uncovers an astoundingly dysfunctional world of museums, galleries, auction houses, collectors – a Russian oligarch and a Saudi prince among them … Art, greed, and stealth make for a lively tale of intrigue.’ Kirkus ‘Lewis’ portrait of the artist-engineer … as a “dreamer, a doodler, and a dawdler,” is refreshingly compelling … Lively and ultimately sinister sketches from over the centuries amount to the Salvator Mundi’s provenance … A deliciously detailed, satisfying book, that is simultaneously a call for change.’ Irish Times Praise for ‘Hammer and Tickle’: ‘Ben Lewis's book celebrates the brilliance with which jokes exposed the gulf between the Soviet ideal and its brutal reality’ Sunday Telegraph ‘There is a laugh on every page’ John Suchet, Sunday Express

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Book SynopsisThe first comprehensive monograph in over a decade celebrating the work of pioneering video artist Steina, who is known for pushing perspective beyond the human-centered realm.Accompanying the related exhibition at MIT List Visual Arts Center and Buffalo AKG Art Museum, Steina brings renewed recognition to Steina (b. 1940, Iceland), tracing her oeuvre from early collaborative works with her partner Woody Vasulka to her independent explorations of optics and a liberated, non-anthropocentric subjectivity. It follows her practice from downtown New York to Buffalo to the vast landscapes of New Mexico and Iceland, which appear in her immersive video environments of the 1990s and 2000s. Venturing into nature and combining imaging technologies with reflective orbs, Steina reorientated the human body?s relationship to nature and expanded how we access the natural world through media.Scholars including Gloria Sutton, Joey Heinen, and Ina Blom consider how Steina?s generative sense of play gave way to methods of processing and computation; contextualize Steina alongside a group of her peers who shared an obsession with the electronic signal; and argue for her interest in video as a proto-virtual space. Steina has never felt more relevant.Steina, born Steinunn Briem Bjarnadottir, studied violin and music theory in Reykjavik before attending the State Music Conservatory in Prague, Czechoslovakia. In 1965, she emigrated to New York City. By the late 1960s, she began to focus entirely on video work, and in 1971, cofounded The Electronic Kitchen (later The Kitchen), an experimental electronic media space. Her work has been shown at the Centre Georges Pompidou, Paris, the Whitney Museum of American Art, New York, and many other places.A copublication with the MIT List Visual Arts Center and Buffalo AKG Art Museum

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Book Synopsis'A joy to read.' Sunday Times'Outstanding.' Daily Telegraph'Excellent.' The Spectator'Superb.' Literary Review'Scintillating . . . A gripping, mysterious love story which also sheds light on British culture between the wars.' Financial TimesIn 1922, Cyril Power, a fifty-year-old architect, left his family to work with the twenty-four-year-old Sybil Andrews. They would be together for twenty years. Both became famous for their dynamic, modernist linocuts - streamlined, full of movement and brilliant colour, summing up the hectic interwar years. Theirs was a scintillating world of Futurists, Surrealists and pioneering abstraction, but alongside the buzz of the new, of machines and speed, shops and sport and dance, they also looked back, to medieval myths and early music, to country ways disappearing from sight.

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Book SynopsisThe definitive book about 20th and 21st century Iranian art renowned art historian, Hamid Keshmirshekan, the editor-in-chief of the bilingual Quarterly, Art Tomorrow, and a visiting professor at the University of Oxford. This book contains 379 full colour images, covering a broad range of artists residing both in and outside Iran.

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Book SynopsisGustav Klimt was an Austrian symbolist painter, and one of the most prominent members of the Vienna Secession movement. He is known the world over as the most famous Art Nouveau painter and one of the greatest decorative painters of the twentieth century.

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Book SynopsisAn unprecedented look at the little-known paintings from Louise Bourgeois’s early years in New York that laid the groundwork for her sculptural practice “The catalog Louise Bourgeois: Paintings, and the revelatory exhibition, . . . were overseen by Clare Davies, who has commissioned an insightful essay from the art historian Briony Fer. But there’s another bonus: Beyond the paintings in the show, the catalog reproduces around 25 more, meaning that three-quarters of Bourgeois’s contribution to modern painting can now be seen in one place.”—Roberta Smith, New York Times, “Best Art Books of 2022” Louise Bourgeois (1911–2010) is celebrated today for her sculptures. Less known are the paintings she produced between her arrival in New York in 1938 and her turn to three-dimensional media in 1949. Crucial to her artistic practice, these early works—the focus of this groundbreaking publication—show how Bourgeois evolved her deeply personal artistic lexicon, and how the themes and motifs she explored in her paintings coalesced into symbols of her sculptural practice. Informed by new archival research and the artist’s extensive diaries, Louise Bourgeois: Paintings explores Bourgeois’s relationship to the New York art world of the 1940s and her development of a unique pictorial language, adding a key element to our understanding of this crucial artist’s career. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (April 11–August 7, 2022) New Orleans Museum of Art (September 8, 2022–January 8, 2023)Trade Review“The catalog Louise Bourgeois: Paintings, and the revelatory exhibition of the same name at the Metropolitan Museum of Art, are the first of their kind. . . . Both show and catalog were overseen by Clare Davies, who has commissioned an insightful essay from the art historian Briony Fer. But there’s another bonus: Beyond the paintings in the show, the catalog reproduces around 25 more, meaning that three-quarters of Bourgeois’s contribution to modern painting can now be seen in one place.”—Roberta Smith, New York Times, “Best Art Books of 2022”

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Book SynopsisMatisse or Kahlo - Hirst or Emin - whose artworks have been the most influential? The most shocking? The most expensive? These cards allow art lovers of all ages to play off popular artists and compare them to the trailblazing women we should all know...the battle to redefine the art world is on!

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Book SynopsisTHE SUNDAY TIMES ART BOOK OF THE YEAR A Sunday Times Best Paperback of 2022 Christie's Best Art Books of the Year 'Deft and richly detailed ... rescues the artist from John Bull caricature' - Michael Prodger, Sunday Times 'Marvellous ... a vivid and compelling reconstruction of the settings of Hogarth's life and artistic achievements, and of the nature of the man' - Professor Linda Colley, author of The Gun, the Ship, and the Pen 'Full of richness, originality and considered humour, unafraid to shock with thrilling new insight ... terrific' - Dr Gus Casely-Hayford, Director of V&A Stratford & Sky Arts 'The full technicolour panorama of Georgian life laid out in a huge and passionate book' - Lucy Worsley, Chief Curator at Historic Royal Palaces and author of Courtiers: The Secret History of the Georgian Court On a late spring night in 1732, a boisterous group of friends set out from their local pub. They are beginning a journey, a 'peregrination' that will take them through the gritty streets of Georgian London and along the River Thames as far as the Isle of Sheppey. And among them is an up-and-coming engraver and painter, just beginning to make a name for himself: William Hogarth. Hogarth's vision, to a vast degree, still defines the eighteenth century. In this, the first biography for over twenty years, Jacqueline Riding brings him to vivid life, immersing us in the world he inhabited and from which he drew inspiration. At the same time, she introduces us to an artist who was far bolder and more various than we give him credit for: an ambitious self-made man, a devoted husband, a sensitive portraitist, an unmatched storyteller, philanthropist, technical innovator and author of a seminal work of art theory. Following in his own footsteps from humble beginnings to professional triumph (and occasional disaster), Hogarth illuminates the work and life of a great artist who embraced the highest principles even while charting humanity's lowest vices.Trade ReviewAn evocative portrait of the artist ... wonderfully meandering and original * Guardian *William Hogarth is too easily seen as the John Bull of painters, a bluff xenophobe who showed British life in all its earthiness and humour. Jacqueline Riding, however, reveals a far more nuanced and interesting man * Sunday Times *In this marvellous and timely new biography, Jacqueline Riding makes sensitive and imaginative use of a wide range of often difficult and neglected sources, offering in the process a vivid and compelling reconstruction of the settings of Hogarth's life and artistic achievements, and of the nature of the man -- Linda Colley, author * The Gun, the Ship, and the Pen: Warfare, Constitutions, and the Making of the Modern World *If you are not familiar with the particular genius of Hogarth, this is the book through which to discover it. And if you are a fellow Hogarth fanatic then you are in for an exquisite treat. This is a special book that drops you heart first into Hogarth's world - like the great man's canvasses, it is full of richness, originality and considered humour, unafraid to shock with thrilling new insight -- Dr Gus Casely-Hayford, Director of V&A East and Professor of Practice, SOAS[An] excellent new biography ... Riding is particularly good on how the boy who was born into modest circumstances in 1697 spent much of the first half of his life wanting to be a 'proper' artist dealing with grand, historical subjects. -- Kathryn Hughes * Daily Mail *Deft and richly detailed ... rescues the artist from John Bull caricature -- Michael Prodger * Sunday Times *William Hogarth is too easily seen as the John Bull of painters, a bluff xenophobe who showed British life in all its earthiness and humour. Jacqueline Riding, however, reveals a far more nuanced and interesting man -- Michael Prodger, The art book of the year * Sunday Times *An entertaining ... richly worked and varied "progress" ... amid the displays of wounded vanity and cantankerous self-assertion, there remains something hugely impressive, and rather attractive, in the Hogarth who emerges from these pages -- Matthew Sturgis * The Oldie *[Hogarth] was far more than a mere depicter of his age and an artist of skill and talent. He was also a complex and active human being who was living within the society he drew. As such, he is worthy of a thorough and considered biography that captures the man of the time as well as the artist. That is exactly what Jacqueline Riding has brilliantly provided ... [Hogarth] is of the highest value in showing there was so much more to Hogarth than 'Gin Lane', but in also explaining exactly why he was able to create such a lasting image of his times." -- George Goodwin * London Historians *Splendidly vivid, richly informative and remarkably researched ... this comprehensive study must surely be the definitive work on Hogarth. -- Brian Cooper * Church of England Newspaper *Exhilarating ... [Riding] sets out to present to us 'a more rounded Billy Hogarth', and, by and large, she succeeds. There he is, with all his feuds and flarings, his warmth and conviviality, his occasional paranoia ... Only a killjoy would deny the charm of this picaresque narrative -- Ferdinand Mount * TLS *The definitive life of Hogarth. The full technicolour panorama of Georgian life laid out in a huge and passionate book -- Lucy Worsley, Chief Curator at Historic Royal Palaces and author * Courtiers: The Secret History of the Georgian Court *

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Book SynopsisPack of 10 foiled bookmarks, printed on both sides, with a silky ribbon and featuring art by Johannes Vermeer.

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Book SynopsisFor over a century, the name of Chanel has been inextricably linked to elegance, modernity and fashion innovation. It was Chanel who single-handedly made striped jerseys and loose trousers chic, costume jewellery desirable, the little black dress the height of sophistication, and tweed suits a staple of every stylish woman's wardrobe. In this revised and updated book, dress historian Amy de la Haye celebrates Gabrielle 'Coco' Chanel as the couturiere who changed the way stylish women everywhere dress, then and now. She examines the creative output of this most famous of fashion houses, from its infancy in the 1920s through Karl Lagerfeld's incredibly successful tenure, and to the present day as it continues to prosper under Virginie Viard.

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Book SynopsisAn entirely fresh study of how, at the end of the nineteenth century, Montmartre in Paris inspired a vital, innovative and unique community of artists who revolutionized Western art.After the 1871 Paris Commune, Montmartre played a significant political, social, and artistic role; its revolutionary spirit attracted independent artists, writers, and musicians, and its cabarets, cafés, circus, dancehalls, and theaters such as the cabarets Lapin Agile, Le Chat Noir, and Quat?z?arts, the Cirque Fernando, the Elysée Montmartre, the Moulin de la Galette, and Moulin Rouge dance halls made Montmartre a popular cultural center. Avant-garde artists, writers and performers from one generation encountered those of the next on the streets, in the cafés and places of entertainment. Post 1900 the area lost much of its cutting-edge, anti-establishment aura, but its reputation as a haven for a free-loving, radical, bohemian life-style continued to appeal to young artists such as Pablo Picasso, who first came to Paris to visit the World Fair and who later settled in Montmartre as a place to work and create.Drawing on important artworks from the Weisman Collection and the Musée de Montmarte, Paris, as well as a wealth of archival photography, maps, and prints to illustrate its narrative text, this volume presents up to 180 color illustrations, including paintings by Auguste Renoir, Claude Monet, Pablo Picasso, Kees van Dongen, Otto Freundlich, Amedeo Modigliani, Suzanne Valadon, André Derain, Maurice Vlaminck, Henri Matisse, Juan Gris, and Frantisek Kupka, who were at the centre of Montmartre?s artistic and cultural life during this period. An appendix lists all the main artists, teachers, writers, musicians, patrons and establishment owners and promoters in Montmartre during this period. A timeline of key moments and events in Montmartre from 1870-1910, a map of Montmartre showing the locations of studio spaces, residences and cabarets, and a selected bibliography provide important sources of new information for scholars.

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Book SynopsisMedieval metalwork is one of the artistic highlights of the Iranian world, as well as of the Departement des Arts de l'Islam at the Louvre in Paris, which holds more than one hundred and fifty objects from this period. A new approach to the study of a historic collection, Precious Material: The Arts of Metal in the Medieval Iranian World is a comprehensive overview of the production of metalin medieval Iran. Although this is one of the most important collections in the world, the objects, some well-known but many more unpublished, have never been studied or published as an ensemble. This volume includes a presentation of the collection through the lens of its centers of manufacture, a full technical analysis, as well as the functions and contexts in which the pieces were used. Each object is fully described and illustrated in color with close-up or X-ray images, and many inscriptions have been translated and are included in the catalog entriesTrade ReviewPrecious Materials is a dazzling and erudite work of interdisciplinary scholarship. Drawing together careful historical research, provenance sleuthing, and comprehensive archaeometallurgical analysis of materials and techniques, the text sets a new bar for the study of metalworking in the medieval Islamic world. The authors present a sequence of clear interpretive frames that build upon each other, culminating in a catalogue where each virtuosic object is explored in unprecedented detail. Working in concert with this is a wealth of carefully deployed technical imagery, suffusing the whole book with the uncanny beauty of the X-radiograph and the microphotographic detail. We are shown things no human eye has ever seen before. The metalworkers of pre-Mongol Iran and Afghanistan have long been recognized as supreme masters of their craft, but never before has it been possible to see and to know the true extent of their skills in such forensic detail.Margaret Graves, Adrienne Minassian Associate Professor of Islamic Art and Architecture, Brown University

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Book SynopsisRecord your D&D adventures with this campaign journal for new and experienced players alike, featuring helpful tools for creating a character and templates for tracking sessions.With the updated Player's Handbook, there's never been a better time to embark on a new quest. Whether you're taking your first steps in Faerûn or you're already the Level 20 Tiefling warlock of your dreams, this campaign journal is tailor-made for players of all kinds.Prompts, indexes, and templates will help track party members, NPCs, factions, creatures, and unforgettable moments. As a timely and relevant resource for players, this journal also includes material that will help players engage with the newly introduced bastions system. Tailor-made for players, this campaign journal will be a record of every critical hit (and miss) as well as a helpful aid for gameplay. This journal also features bespoke cover art from fan-favorite illustrator Hydro74: On the front cover, a terrifying roper bares its fangs, while D&D’s iconic gelatinous cube is featured on the back cover.With deluxe features like a back pocket for holding spell cards (not included) and other ephemera, as well as an elastic closure to ensure safe storage of loose sheets, this journal is a lavish keepsake. By the campaign's end, players can proudly display this journal on their shelf and revisit it to remember time well-spent with friends. Whether you're seeking a useful resource for your next campaign, or if you're just looking for the perfect gift, this journal is a volume that no player can do without.

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Book SynopsisEmbark on your next travel adventure in style with this Thailand-inspired travel set celebrating the third season of the hit HBO show The White Lotus.

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Book SynopsisThis collectible, hardcover journal has an eye-catching sculpted cover featuring intricate, Hufflepuff-themed artwork from the Harry Potter films.

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Book SynopsisThis collectible, hardcover journal has an eye-catching sculpted cover featuring intricate, Ravenclaw-themed artwork from the Harry Potter films.

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Book SynopsisKeep the last words of your favorite Shakespearean heroes and heroines close to your heart with this delightful tiny book and pin set.

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Book Synopsis"Undoing is just as much a democratic right as doing."---Gordon Matta-Clark

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Book SynopsisAn insightful study of the progressive politics animating a great work of modernist mural painting In 1936 the Works Progress Administration's Federal Art Project commissioned Stuart Davis (18921964) to paint a mural for the Williamsburg Houses, a New York City housing project. Though the mural, Swing Landscape, was never installed in its intended location, it survives as an impressive testament to Davis's energetic, colorful brand of abstraction and the progressive politics that animated it. This study explores the painting, one of the greatest of twentieth-century America and arguably Davis's most ambitious work. This book challenges the prevailing tendency to separate Davis's leftist activism from his art and contextualizes Swing Landscape within 1930s abstract mural painting in New York, emphasizing the politics of abstraction. The book also offers the first comprehensive look at the Williamsburg mural commission, including works by Willem de Kooning, Ilya Bolotowsky, and other

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Book SynopsisAn expansive new study that explores the wide breadth of Italian painting in the fifteenth centuryTrade Review“A story of artistic developments in the Italian Renaissance that looks beyond the familiar centres of Rome, Venice and Florence.”—Apollo Magazine

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Book SynopsisAn essential reference that provides new understanding of the thought processes of one of the most radical artists of the late twentieth century. Gordon Matta-Clark (19431978) has never been an easy artist to categorize or to explain. Although trained as an architect, he has been described as a sculptor, a photographer, an organizer of performances, and a writer of manifestos, but he is best known for un-building abandoned structures. In the brief span of his career, from 1968 to his early death in 1978, he created an oeuvre that has made him an enduring cult figure. In 2002, when Gordon Matta-Clark's widow, Jane Crawford, put his archive on deposit at the Canadian Centre for Architecture in Montreal, it revealed a new voice in the ongoing discussion of artist/architect Matta-Clark's work: his own. Gwendolyn Owens and Philip Ursprung's careful selection and ordering of letters, interviews, statements, and the now-famous art cards from the CCA as well as other sources deepens ourTable of ContentsCONTENTS The Artist’s Voice: Writings by Gordon Matta-Clark Transformations: A Brief Biography of Gordon Matta-Clark A Note to the Reader 1969–1970 Transcription of Audiotaped Interview with Art Critic Cindy Nemser, July 1970 Transcription of Audiotaped Interview with Art Critic Cindy Nemser, “Seeing Who You Really Are,” September 1970 1971 Letter to Roberto Matta in Paris from New York, April 1, 1971 Letter to Reverend Moody in New York from New York, April 25, 1971 Letter to Curator Mary Delahoyd at Vassar College in Poughkeepsie, New York, from New York, ca. April 1971 Vassar Exhibition Text, 1971 Letter to Harold Stern at the Department of Real Estate, New York City, from New York, July 10, 1971 Letter to Rockland Colloid Corporation in Piedmont, New York, from New York, [n.d.—1971] A Matta’s Proposal, New York, August 1, 1971 Letter to Alfred Pacquement at the Biennale de Paris, from New York, September 22, 1971 Cherry Tree, Draft, [n.d.—1971] Cherry Tree—Published Version Draft of a Text for the Contrabienal Catalogue from Gordon Matta-Clark’s Notebook Edges, [n.d.—1971] Letter to Artist Carol Goodden in New York from South America, December 19, 1971 1972 Letter to Artist Carol Goodden in New York from South America, January 14, 1972 Selections from the Food Film Notebook, Spring 1972 Plans to Break, [n.d.—1972] 1973 Letter to Roberto Matta in Paris from New York (April 1973) Letter to Artist Carol Goodden in Paris from New York, October 6, 1973 Letter to Artist Carol Goodden in New York from Amsterdam, December 2, 1973 Letter to Artist Carol Goodden in New York from Amsterdam, December 3, 1973 Letter to Artist Richard Nonas in New York from Amsterdam, December 5, 1973 Anarchitecture Letter Part 1 to Carol Goodden in New York from Amsterdam, December 10, 1973 Anarchitecture Letter Part 2 to Carol Goodden in New York from Amsterdam, December 10, 1973 Letter to Artist Carol Goodden in New York from Amsterdam, [n.d.—December 1973] 1974 Interview with Liza Bear, May 21 and 25, 1974 Letter to Artist Carol Goodden in New York from Niagara Falls, New York, August 1974 Untitled Statement on Bingo, [n.d.—1974] Second Untitled Statement on Bingo, [n.d.—1974] Letter to Margot Wellington, Downtown Brooklyn Development Association, from New York, [n.d.—1974] 1975 Letter to Roberto Matta in Paris from New York, January 10, 1975 Letter to Gallerist Salvatore Ala in Milan from New York, [January 1975] Letter to Artist Douglass Chrismas in Los Angeles from New York, January 16, 1975 Letter to James Harithas at the Contemporary Arts Museum in Houston, Texas, from New York, January 16, 1975 Letter to Warren Wechsler at the Economic Development Agency in New York from New York, January 16, 1975 Letter to Robert Lendenfrost at the Art and Design Program, World Trade Center, New York, from New York, January 16, 1975 Letter to Lauren Ewing at the Williams College Museum, Williamstown, Massachusetts, from New York, January 17, 1975 Letter to Gallerist Germano Celant in Milan from New York, January 17, 1975 Letter to Pontus Hulten, Director of the Future at the Centre Georges Pompidou in Paris, from New York Letter to Rockwell International in Pittsburgh, PennsylvaniaPennsylvania, from New York, January 17, 1975 Letter to New York State Council on the Arts from New York, January 17, 1975 Letter to Artists Robert Rauschenberg and Rob Peterson in Florida from New York, January 20, 1975 Letter to James Harithas at the Contemporary Arts Museum in Houston, Texas, from New York, January 21, 1975 Letter to Sidney Lewis at Best Products, in Ashland, Virginia, from New York, January 21, 1975 Letter to Robert Lendenfrost in the Art and Design Program, World Trade Center, New York, from New York, January 21, 1975 Letter to Bob Murdock at the Dallas Museum of Art in Dallas, Texas, from New York, January 21, 1975 Letter to Doris Friedman at City Walls, Inc., in New York from New York, January 25, 1975 Letter to Harris Rosenstein at Rice University in Houston, Texas, from New York, January 25, 1975 Letter to Gallerist Claire Copley in Los Angeles from New York, January 26, 1975 Letter to Gallerist Dave Creigh in Coronado, California, from New York, [n.d.—January 1975?] Letter to Art Consultant Ruth Hollander in New York from New York, January 26, 1975 64391int. Letter to Gallerist Wolfgang Becker in Aachen, West Germany, from New York, January 27, 1975 Letter to Frederica Hunter at Texas Gallery in Houston, Texas, from New York, January 27, 1975 Letter to Freddie Loizeaux at Controlled Demolition in Towson, Maryland, from New York, January 27, 1975 Letter to Developer Melvyn Kauffman in New York from New York, January 31, 1975 Letter to Urban Planner Ron Shiffman at Pratt Center in Brooklyn, New York, from New York, February 4, 1975 Letter to Artist Jim Roche in Tallahassee, Florida, from New York, February 10, 1975 Letter to Landscape Architect Russell Dupuis in Breaux Bridge, Louisiana, from New York, February 10, 1975 Letter to Ira Licht at the Museum of Contemporary Art, Chicago, from New York, February 10, 1975 Letter to Anita O’Neil at Creative Time in New York from New York, February 10, 1975 Letter to the Advertising Department at Milwaukee Electric Tool Corp. from New York, February 23, 1975 Interview with Art Critic and Architect Donald Wall), [n.d.—1975] Letter to Steve Rother, Revenue Collection, Newark, New Jersey, from New York, March 2, 1975 Letter to Art Critic and Architect Don Wall from Central America, April 2, [1975] Work with Abandoned Structures, [n.d.—1975] Letter to Frederica Hunter and Ian at Texas Gallery from New York, April 30, [1975] Letter to Jim Harithas at the Contemporary Arts Museum, Houston, from New York, April 30, 1975 Letter to Helga Retzer at Amerika Haus in Berlin from New York, May 5, 1975 Letter to Walter Hopps at the National Collection of Fine Arts in Washington, DC, from New York, May 5, 1975 Letter to Georges Boudaille at the Biennale de Paris from New York, [n.d.—1975] Letter to Marilyn Lubetkin at the Contemporary Arts Museum, Houston, from New York, May 15, 1975 Letter to Curator Nina Felshin in Washington, DC, from New York, [June 1975] Letter to Wolfgang Becker at the Neue Galerie in Aachen, West Germany, from New York, [n.d.—1975] Letter to Gallerist Claire S. Copley in Los Angeles from New York, June 20, 1975 Letter to Paolo Minetti and Clotilde at Galeriaforma in Genoa from New York, June 26, 1975 Letter to Gallerist Salvatore Ala in Milan from New York, June 26, 1975 Letter to Curator Nina Felshin in Washington, DC, from New York, June 30, [1975] Letter to Architect Will Alsop in London, England, from New York, July 2, 1975 Letter to Artist Dale Chihuly at the Rhode Island School of Design from New York, [n.d.—1975] Letter to Representative John M. Murphy in Staten Island from New York, July 2, 1975 Letter to Helga Retzer at Amerika Hause, Berlin, West Germany, from New York, [n.d.—after May 5, 1975] Letter to Georges Boudaille at the Biennale de Paris from New York, July 30, 1975 Letter to Paolo Minetti at Galeriaforma in Milan from New York, July 31, 1975 Letter to Frederica Hunter and Ian at Texas Gallery from New York, August 12, 1975 Letter to Malitte Matta in Paris from New York, August 13, 1975 Letter to Gallerist Jorard Piltzer in Paris from New York, August 18, 1975 Letter to Curator Jean-Hubert Martin in Paris from New York, August 18, 1975 Letter to Gallerist Salvatore Ala in Milan from New York, August 19, 1975 Letter to Helga Retzer at America Haus in Berlin from Paris, September 7, 1975 Letter to Paolo Minetti at Galeriaforma in Milan from Paris, September 7, 1975 Letter to Wolfgang Becker at Neue Gallery in Aachen, West Germany, from Paris, September 8, 1975 Letter to Anne Alpert and Batan in New York from Paris, September 27, 1975 [postmarked October 19] Letter to Artist Susan Ensley in New York from Paris, October 9, 1975 Letter to Anne Alpert and Batan in New York from Paris, October 18, 1975 Letter to Malitte Matta in Paris from Milan, Italy, October 31, 1975 Letter to Artist Carol Goodden in New York from Milan, November 10, 1975 Letter to Don Foresta at the American Cultural Center, Paris, from Milan, [n.d.—November 1975] Letter to Paolo Minetti at Galeriaforma in Milan [n.d.—Fall 1975] Letter to Helga Retzer at Amerika Haus in Berlin, West Germany, from Milan, [November 1975] Letter to Mabou Mines Founders Lee and Ruth Breuer in New York from Paris, December 1, 1975 Letter to Artist Jerry Clapsaddle at SUNY, Oneonta, New York, from Milan, December 1, 1975 Letter to Gallerist Franco Toselli in Milan from Milan, December 2, 1975 Letter to Attorney Jerry Ordover in New York from Rome, December 4, 1975 In Defense of Pier 52, 1975 Gordon Matta-Clark, a Film by Marc Petitjean Biography, 1975 Etant d’art locataire, Beaubourg, 1975 Works by Gordon Matta-Clark at Gallery Ala, [n.d.—1975] Proposal to the Workers of Sesto San Giovanni, Milan, 1975 1976 Letter to Paula Hutchings at UCLA from New York, January 23, 1976 Letter to Monette Repriels at Galerie Vega in Liege, Belgium, from New York, February 2, 1976 Letter to Architect Franco Raggi in Milan from New York, February 2, 1976 Letter to Gallerist Salvatore Ala in Milan from New York, February 2, 1976 Letter to Wolfgang Becker at Neue Galerie in Aachen, West Germany, from New York, February 2, 1976 Letter to Georges Boudaille at the Biennale de Paris from New York, February 2, 1976 Letter to K. J. Geirlandt at the Palais des Beaux Arts in Brussels, Belgium, from New York, February 2, 1976 Letter to Yvon Lambert at Galerie Yvon Lambert from New York, February 2, 1976 Letter to Don Foresta at the Centre Culturel Américain in Paris from New York, March 3, 1976 Letter to UCLA Professor Bill Mitchell in Venice, California, from New York, [n.d—1976] Letter to Architect Franco Raggi in Milan from New York, April 1, 1976 Letter to Dennis Wendling at the New York City Metropolitan Transit Authority from New York, April 20, 1976 Letter to James McCarthy at the New York City Metropolitan Transit Authority from New York, April 20, 1976 Letter to Jim Morton, Dean of St. John the Divine, New York, from New York, April 20, 1976 Letter to Peter Campus at MIT, Cambridge, Massachusetts, from New York, [n.d.—Spring 1976] Additional Statements for Donald Wall’s Article Donald Wall, “Gordon Matta-Clark’s Building Dissections,” Arts Magazine (May 1976), 74–79 Letter to Wieslaw Borowski at Galeria Foksai in Warsaw, Poland, from New York, June 10, 1976 Letter to Wolfgang Becker at Neue Gallery in Aachen, West Germany, from New York, June 10, 1976 Letter to Industrialist Emilio Rebora in Genoa, Italy, from New York, June 10, 1976 Letter to Yvon Lambert at Galerie Lambert in Paris from New York, June 10, 1976 Letter to Monette Repriels at Galerie Vega in Liege, Belgium, from New York, June 10, 1976 Letter to Collector Sylvio Perlstein in Antwerp, Belgium, from New York, July 14, 1976 Letter to Gallerist Salvatore Ala in Milan from New York, July 14, 1976 Letter to Helga Retzer at Amerika Haus in Berlin from New York, July 14, 1976 Letter to Paolo Minetti at Galeriaforma in Genoa from New York, July 27, 1976 Letter to Director Florent Bex in Antwerp from New York, July 28, 1976 Letter to Ruth Garcia at Adopt A Building in New York from New York, July 29, 1976 Letter to Nina Felshin, Director of U. S. A. for the 1977 Biennale de Paris in Washington, DC, from New York, August 2, 1976 Letter to J. W. McCarthy at the New York Metropolitan Transit Authority from New York, August 25, 1976 Letter to James McCarthy at the New York Metropolitan Transit Authority from New York, ca. Fall 1976 A Resource Center and Environmental Youth Program for Loisaida: Guggenheim Fellowship Proposal by Gordon Matta-Clark, 1976 Letter to Artist Carol Goodden in New York from Berlin, West Germany, October 6, 1976 Letter to Monsieur Diamy at the Service de l’information et Relations Publiques in Paris from Berlin, West Germany, October 7, 1976 Letter to Anne Alpert in New York from Berlin, West Germany, October 16, 1976 Berlin Wall Idea: If We Follow the Wall, 1976 Letter to Gallerist Salvatore Ala in Milan from New York, December 12, 1976 Press Release for Substrate, 1976

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Book SynopsisTrade Review"Winner of the Alice Davis Hitchcock Book Award, Society of Architectural Historians"

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Book SynopsisTrade Review"Alpers’s interest in the ‘unique’ work of Walker Evans is an interest in the ‘making’ of the photographs rather than in their interpretation: her approach is slow, patient, fastidious, detail-oriented, appreciative and illuminating. . . . It is really Starting from Scratch that is a ‘unique’ work: a close reading of classic photographs by a discerning eye (Alpers’s) that conjoins the instructional with the intimate, the scholarship of the historian with the candour of the memoirist. . . . A brilliant and, indeed, thrilling final chapter . . . considers the phenomenon of ‘late style’ as it relates to artists other than Walker Evans"---Joyce Carol Oates, Times Literary Supplement"Warm and sympathetic . . . really a wonderful biography."---Joyce Carol Oates, Times Literary Supplement Podcast"[A] superb book."---Richard Meyer, Artforum"Starting From Scratch is well researched, and Alpers’s heavily quotational approach provides the reader a wealth of material from Evans’s letters, lectures, published texts, and personal writings."---Rahel Aima, The Nation"Svetlana Alpers’s biography takes a chronological approach to the life of an artist. . . . But before the text explores Walker’s aspirations, tastes, travels, career highs and love of the written word, the reader is presented with an uninterrupted 143 full-page reproductions of Evans’s photographs—an invitation to appraise the work before engaging with the man." * Christie's *"[A] brilliant scholar of Dutch painting’s take on an artist whose work has moved and inspired me for years."---Ayad Akhtar, Elle.com"A fresh consideration of Evans’s pictures. . . . Engaging."---Brian Sholis, Aperture"A fresh, scholarly look—complete with more than 200 images—at the seminal American photographer, this time through the lens of fine art and literature. In a lavishly illustrated narrative bolstered by impassioned research, art historian Alpers reintroduces readers to Walker Evans (1903-1975), one of America’s great artistic observers . . . Alpers convincingly presents him as a new kind of poet. . . . Great American photography in a welcome new frame." * Kirkus Reviews *"A comprehensive study. . . . Alpers shows how Evans’s approach differed both from that of other photographers and from conventional assumptions about photography. . . . Intriguing interpretations of Evans’s photos and work process, for both specialists and general readers." * Library Journal *"An entire semester in one volume. . . . [Alpers's] analysis of Evans’ artistic life will not disappoint. . . . This biography affectionately reads like a lecture series, with professor Alpers nudging students to close-read the 143 black/white Evans photos conveniently placed at the book’s beginning."---Jean Bundy, Anchorage Press"In Walker Evans: Starting from Scratch, art historian Svetlana Alpers explores the prominent 20th century documentary photographer’s work and creative process. Though one might usually consider photography to be a graphic art like painting, Alpers examines Evans’ love of text and the relationship between his images and works by writers including Flaubert, Baudelaire, and Faulkner, making the compelling case that literature is at the heart of his work. The book features 170 of Evans’s photos, but the main reason to get Starting from Scratch is to learn more about the artist’s way of seeing the world and rediscover his work with fresh eyes." * Photo Life Magazine *"[Alpers] takes a vivid, fresh look at the remarkable photographer whose well-known work on cities and on American rural poverty resonates today. But there is much more to see, and say. Many of the 143 plates will not be familiar, and Alpers interprets them in the context of international literature and art, inviting 'those who don’t know Evans [to] discover his greatness,' and ranking photographic achievement with literature and painting of the highest quality." * Harvard Magazine *"[Walker Evans] is finely tuned and thoroughly researched, carving out a unique space by focusing on Evans's lifelong emphasis on the art of seeing. . . . Highlighting groundbreaking cultural events, artists, and historical moments, including both world wars, the 1960s, and multiple cultural renaissances throughout Europe and the US, Alpers energetically writes about the people, places, and events that were continuous sources of influence and inspiration for Evans. . . . Highly recommended." * Choice *"This 213-page book provides depth and breadth about Evans’ work. Readers . . . who are curious about what drove Walker Evans to create, and to learn about what influenced him and what distinguishes him from other 20th Century photographers as it evolved will no doubt enjoy Walker Evans: Starting from Scratch. "---Caryn Hoffman, Picture this Post"In this extensive and detailed biography . . . the reader is presented with a new perspective on Walker Evans’s work, rendering the presumed familiar unfamiliar in a decidedly nuanced and enjoyable way." * ARLIS/NA Reviews *"[A] learned, suggestive, and handsome work. Alpers studies Evans’s work employing the techniques used to critique paintings: by assessing how he framed his scenes, in the light of his printed statements and off-the-cuff remarks. Her most illuminating is the theme of detail. She focuses on what Evans focused on."---Allen D. Boyer, Key Reporter"Insightful."---Stuart Mitchner, Town Topics"Alpers’ book on Walker Evans begins, after a half title page, with reproductions of 143 of Evans’ photographs . . . a silently eloquent way to say: the pictures come first. . . . Alpers focuses on [Evans’s] profound connection to French culture, literary in the first place . . . and then photographic . . . to show how 'Evans always viewed his country as if from the outside and often with an ironic eye.'"---Barry Schwabsky, Tourniquereview.com"This is a rich and thoughtful study of Evans’s life and his “furtive, passionate looking”. . . . A wonderfully insightful discussion of Evans’s key role in the creation of a distinctively American photography and the way great photographs can change how we see the world."---PD Smith, The Guardian

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Book SynopsisTrade Review"A thought-provoking read that sheds light on the hidden narratives of objects and their profound influence on our collective heritage." * Metropolis *"Refreshingly anti-parochial. . . .Impressively done."---Owen Hatherley, Apollo: The International Art Magazine"One of the most interesting and essential texts on modernism to be written in the last decade. . . . Schuldenfrei has made a fairly niche art historical subject incredibly approachable with brilliant but accessible text. . . . [Objects in Exile] is a phenomenally well researched and important text on the subject and should be required reading for anyone interested in modern art and design."---Angelina Lippert, New York Journal of Books

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Book SynopsisTrade Review"A Choice Outstanding Academic Title of the Year""[Pastoureau] traces the use and significance of the color from the walls of the Lascaux caves and liturgical robes to medieval chess boards and heraldry, to engraving and photography, and the work of the Impressionist painters and contemporary designers. . . . Thorough research and abundant illustrations." * Library Journal *"A rich and encyclopedic exploration of the manifold ways in which Westerners have conceptualized the color white."---Jesse Russell, New Criterion"The book is full of fascination and is as abundant in unusual images as in revealing facts."---Michael Prodger, New Statesman"Magisterial. . . .The book is full of striking contextualised images from antiquity to the present day, so readers gain vivid impressions of the role of white and its symbolism. The series is an extraordinary achievement." * Paradigm Explorer *"The book is a good introductory resource on the significance and symbolism of the color white in Western European culture. Pastoureau's volume is a valuable addition to his introduction to the history of color in the West." * Choice *

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