History of art Books

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Book SynopsisA major reexamination of the life, art, and legacy of a self-taught American masterGrandma Moses: A Good Day's Work explores how an unlikely artistmarginalized in her time for being elderly, female, and untrainedcatapulted into the American imagination in the 1940s and 1950s. Anna Mary Robertson Moses (18601961) was eighty years old when Otto Kallir, a New York art dealer and recent émigré from Nazi-held Austria, introduced her to the world. Grandma Moses, as the press dubbed her, quickly became a polarizing figure, beloved by the public but belittled by an art world that objected to her story-time scenes and lack of formal training. Drawing on Moses's own metaphor of her life as a good day's work, the book charts Moses's creative development from her earliest artistic efforts to the emergence of her signature style, revealing a multidimensional artist who melded direct observation of nature with personal memories to tell idiosyncratic yet compelling stories. It positions Moses as a central figure in the history of twentieth-century American art, a painter whose life and work bore witness to the Civil War, two world wars, and the civil rights era. Beautifully illustrated, Grandma Moses: A Good Day's Work captures the indomitable spirit Moses brought to her artmaking, conveying a candor and authority that still resonate today with the quest for a homespun American visual tradition. Published in association with the Smithsonian American Art Museum, Washington, DCExhibition ScheduleSmithsonian American Art Museum, Washington, DCOctober 24, 2025July 12, 2026

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Book SynopsisA fuller, richer picture of an artist at the height of his powersTrade Review“Sloman is at her most illuminating when discussing the practical realities of studio practice [and] makes a convincing case for the significance of the relationship between Gainsborough and the viola-da-gamba player Carl Friedrich Abel.”—Kirsten Tambling, Apollo“Gainsborough in London offers a scholarly and readable appraisal of the artist’s masterpieces....It is, however, Sloman’s penetration of the man’s character and emotions that is most rewarding.”—Christopher Masters, World of Interiors“We must thank and congratulate Sloman on completing the second volume of what can only be described as the work of a lifetime. With her unparalleled knowledge of the artist and his œuvre, her curatorial experience, her archival discoveries and, not least, her visual acuity, she has enlarged our understanding and appreciation of an artist we thought we knew well until we completed our reading of both Gainsborough in Bath and Gainsborough in London. Together they have made an enduring contribution not only to Gainsborough scholarship but also to the study of British art of the eighteenth century.”—Duncan Robinson, The Burlington Magazine

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Book SynopsisA Grammy Awardwinning singer and scholar explores how Chican@ artivistas in East Los Angeles, from 1995 to the present, have created a unique community of process-based political engagement influenced by the Zapatista and Fandango movements.Trade ReviewPart academic treatise...and part testimonio, [Chican@ Artivistas] seamlessly weaves together Chicana feminist theory, ethnomusicology and Gonzalez’s intimate experiences. In the process, it offers a glimpse into the vibrant art scene of 1990s East L.A. and the development of a Chicana artivist. * Los Angeles Times *This compact, powerful book could only have been written by Martha Gonzalez...[Chican@ Artivistas] book stands out in various ways. The text is carefully crafted with a scriptural economy few academics achieve, while not sacrificing rigor and complexity. Gonzalez is strategic in prose and presentation, disruptive of received narratives, and transgressive of disciplinary boundaries. Furthermore, she uncovers a remarkable assortment of concepts and questions for further development by scholars in various disciplines and fields...This work will be widely read in Chicanx/Latinx studies, feminist studies, and music theory circles. It is of particular interest to students of recent music history, Zapatista studies scholars, and those researching neoliberalism and active resistance to it into the twenty-first century. * H-Socialisms *Moving from her upbringing with her musician father to the Zapatista movement to the rise of Quetzal, Gonzalez shows how music is 'a conduit of freedom and a malleable tool for those who envision social change.' Moreover, she demonstrates how art practices can be used 'to go beyond resistance, into actively building on the dream and tangible enactments of new worlds.' * L.A. Taco, "The 2020 L.A. Taco Book Guide" *As an interdisciplinary text, Chican@ Artivistas contributes to the fields of Chicana/o, feminist, music, and performance studies, translocal and transnational studies, and scholarship on US-Mexico fandango music. The book offers a nuanced view of Chicana/o ethnic and political identities, subjectivities, and social justice projects that have been overlooked in Chicana/o music genealogies and social activism...This text will be a useful pedagogical tool for presenting rigorous ideas in accessible language to undergraduate and graduate students in various fields while also serving more expansive communities including artists, musicians, and social activists. * Aztlán: A Journal of Chicano Studies *Beyond documenting an important historical period of Chicana/o music-making, the book makes other contributions of note...The book is also unique in its presentation of music culture not centered on genre or style but rather on the sociopolitical context from which the practices that Gonzalez documents and theorizes emerge...Chican@ Artivistas is a valuable text for students and scholars of Chicanx/Latinx music and culture. * Chiricú Journal *I recommend Chican@ Artivistas for scholars and cultural workers interested in convivencia, fandango jarocho, music that emerges from cultural practices, and artivism or Chican@ artistic social practice. It is a valuable text for both undergraduate and graduate students and for scholars of Chican@ and Latin@ music and culture, ethnic studies, ethnomusicology, women and gender studies, and the study of social movements. * New Mexico Historial Review *Table of Contents Acknowledgments Introduction Chapter 1. Music Misunderstood Chapter 2. Chican@ Artivistas: Resistance to Capital Market Systems and the Mind/Body Split Chapter 3. The Popular Resource Center and Centro Regeneración in Highland Park Chapter 4. The Big Frente Zapatista: Using Art as a Tool of Critical Dialogue Chapter 5. Fandango Jarocho as a Decolonial Tool Chapter 6. Los Guardianes de la Convivencia Conclusion. Imaginaries: The Grammy and the Graduate Student Notes Discography Bibliography Index

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Book SynopsisThe first publication on the personal and professional relationship between Manet and Degas, two giants of nineteenth-century French art Friends, rivals, and at times antagonists, Édouard Manet and Edgar Degas maintained a pictorial dialogue throughout their lives as they both worked to define the painting of modern urban life. Manet/Degas, the first book to consider their careers in parallel, investigates how their objectives overlapped, diverged, and shaped each other’s artistic choices. Enlivened by archival correspondence and records of firsthand accounts, essays by American and French scholars take a fresh look at the artists’ family relationships, literary friendships, and interconnected social and intellectual circles in Paris; explore their complex depictions of race and class; discuss their political views in the context of wars in France and the United States; compare their artistic practices; and examine how Degas built his personal collection of works by Manet after his friend’s premature death. An illustrated biographical chronology charts their intersecting lives and careers. This lavishly illustrated, in-depth study offers an opportunity to reevaluate some of the most canonical French artworks of the nineteenth century, including Manet’s Olympia, Degas’s The Absinthe Drinker, and other masterworks. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: Musée d’Orsay, Paris (March 27–July 23, 2023) The Metropolitan Museum of Art, New York (September 24, 2023–January 7, 2024)

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Book SynopsisArtists are makers of things. Yet it is a measure of the disembodied manner in which we generally think about artists that we rarely consider the everyday items they own. This innovative book looks at objects that once belonged to artists, revealing not only the fabric of the eighteenth-century art world in France but also unfamiliar-and sometimes unexpected-insights into the individuals who populated it, including Jean-Antoine Watteau, Francois Boucher, Jean-Baptiste Greuze, and Elisabeth Vigee-LeBrun. From the curious to the mundane, from the useful to the symbolic, these items have one thing in common: they have all been eclipsed from historical view. Some of the objects still exist, like Jean-Honore Fragonard's color box and Jacques-Louis David's table. Others survive only in paintings, such as Jean-Simeon Chardin's cistern in his Copper Drinking Fountain, or in documents, like Francois Lemoyne's sword, the instrument of his suicide. Several were literally lost, including pastelist Jean-Baptiste Perronneau's pencil case. In this fascinating book, the authors engage with fundamental historical debates about production, consumption, and sociability through the lens of material goods owned by artists

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Book SynopsisThis book traces the fascinating history of how and why ancient Mesoamerican objects have been collected. It begins with the pre-Hispanic antiquities that first entered European collections in the sixteenth century as gifts or seizures, continues through the rise of systematic collecting in Europe and the Americas during the nineteenth and twentieth centuries, and ends in 1940—the start of Europe’s art market collapse at the outbreak of World War II and the coinciding genesis of the large-scale art market for pre-Hispanic antiquities in the United States. Drawing upon archival resources and international museum collections, the contributors analyze the ways shifting patterns of collecting and taste—including how pre-Hispanic objects changed from being viewed as anthropological and scientific curiosities to collectible artworks—have shaped modern academic disciplines as well as public, private, institutional, and nationalistic attitudes toward Mesoamerican art. As many nations across the world demand the return of their cultural patrimony and ancestral heritage, it is essential to examine the historical processes, events, and actors that initially removed so many objects from their countries of origin.Table of ContentsIntroduction: The Art of Ancient Mesoamerica, Collections Forged before 1940 - Mary E. Miller From the Market to the Museum: Nineteenth-Century Circulation, Display, and Scholarly Study of Mesoamerican Artifacts in Italy and Beyond - Davide Domenici “An Idol, a Human Crane, an Incrusted Frilly Blue Mosaic Work Once Made for Magic Oracles”: Curious Things from Mexico in Early German Collections, 1525–1835 - Viola König Ciriaco González Carvajal and Archaeological Collectionism in Late Bourbon New Spain - Leonardo López Luján The Objects of History and the History of Objects - Matthew H. Robb The Chapultepec Castle Chimalli: A Habsburg-Repatriated Aztec Ocelot- Hide Shield - Laura Filloy Nadal and María Olvido Moreno Guzmán Collections and Recollections of “the Greatest of Nineteenth-Century Don Quixotes”: Maximilian I’s Imperial Legacy in the Yale Peabody Museum - Brooke Loukkala Beyond the Bazaar: The Making of the Archaeological Collection at the National Museum of Mexico - Miruna Achim National Guardians and Imperial Contenders: The Development of Mexico’s Archaeological Inspectorate - Adam T. Sellen Lost at the Exposition: The Missing Collection of the First National Museum of Guatemala - Oswaldo Chinchilla Mazariegos Casting for Quirigua: Edgar L. Hewett, the School of American Archaeology and Ancient American Research, 1907–1916 - Khristaan D. Villela Maya on the Mersey: Thomas Gann and Collecting in Early Twentieth- Century Britain - Andrew D. Turner “American Antiquities for an American Museum”: Frederick Church, Luigi Petich, and the Founding Decades of the Metropolitan Museum of Art (1870–1914) - Joanne Pillsbury World Collecting Mesoamerican Art before 1940: A New World of Latin American Antiquities Imperialist Ambitions, Black Gold, and Stone Figures: Collecting Huastec Sculptures before 1940 - Kim N. Richter Branding West Mexico: How Collectors and Dealers Reshaped the Archaeological Discourse - Christopher S. Beekman Changing Geographies of the Mesoamerican Antiquities Market circa 1940: Pierre Matisse and Earl Stendahl - Megan E. O’Neil Afterword: Object Amnesia and the Archive - Megan E. O’Neil

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Book SynopsisWhile today we are experiencing a revival of world art and the so-called global turn of art history, encounters between art historians and anthropologists remain rare. Even after a century and a half of interactions between these epistemologies, a sceptical distance prevails with respect to the disciplinary other. This volume is a timely exploration of the roots of this complex dialogue, as it emerged worldwide in the colonial and early postcolonial periods, between 1870 and 1970. Exploring case studies from Australia, Austria, Brazil, France, Germany, and the United States, this volume addresses connections and rejections between art historians and anthropologists—often in the contested arena of “primitive art.” It presents better- and lesser-known actors, from the art historian-anthropologist Aby Warburg to the modernist Brazilian artist Tarsila do Amaral, and from curators-museum directors such as Alfred Barr and René d’Harnoncourt to the curator-impresario Leo Frobenius. Entering the current debates on decolonizing the past, this collection will prompt reflection on future relations between these two fields.Table of ContentsIntroduction - Peter Probst The Allure of Architectural Ornament: Ethnographic Art and the “Shortcomings” of Inka Stonemasonry - Carolyn Dean Anatomy of a Chronological Hallucination: The Category of Primitive Art and Élie Faure’s L’art medieval - John Warne Monroe Ethnology at the Margins of “General Art History”: The Case of Alois Hein - Priyanka Basu What Happens When Natives Draw? Theodor Koch-Grünberg and the Beginnings of World Art History - Claudia Mattos Avolese Boas and Semper: From the Biology of Images to Primitive Art - Carlo Severi Empathy with the Unknown: Reproducing “World Art” after 1900 - Joseph Imorde Fatal Attraction: Carl Einstein’s “Ethnological” Turn - Charles W. Haxthausen Pathos and Paideuma: Aby Warburg, Leo Frobenius, and the Demons of Culture - Peter Probst Ernst Vatter: A Forgotten Pioneer of Art Ethnology - Karl-Heinz Kohl The Anthropologist as Critic: Claude Lévi-Strauss - Boris Wiseman René d’Harnoncourt, Twentieth-Century Cultural Broker: Bridging Art History and Anthropology through the Display of Indigenous Art - Nancy Lutkehaus Outside and Inside Art History: Anthropologists, Art Historians, Curators, and the Recognition of Aboriginal Art - Howard Morphy Contributors Illustration Credits Index

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Book SynopsisMany people know that Vincent van Gogh (1853-90) was a 19th-century Dutch artist, a leading light of the Post-Impressionist movement who painted 'Sunflowers' and cut off his own ear. What, perhaps, they don't know is that he sold, in his lifetime, only one of the 2,100 artworks he painted; that, in 1998, his work 'Self- Portrait Without Beard' sold for $71.5 million; that he wrote over 800 letters; and that he sent that famous ear wrapped in brown paper to a brothel. Biographic: Van Gogh presents an instant impression of his life and work, with an array of irresistible facts and figures converted into infographics to reveal the artist behind the pictures.

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Book SynopsisThe self-portrait of Baccio Bandinelli in the Isabella Stewart Gardner Museum, Boston, shows the scupltor pointing not to a work of marble or bronze, but to a drawing. Bandinelli was particularly proud of his skills as a draughtsman, and he was prolific in his production of works on paper. This set him apart from contemporaries in his profession; many Renaissance sculptors left us no drawings at all. Accompanying an exhibition at the Gardner Museum, this publication will put Bandinelli's portrait in context by looking at the practice of drawing by scupltors from the Renaissance to the Baroque in Central Italy. A focus of the book will be Bandinelli's own drawings and the development of his practice across his career and his experimentation with different media. Bandinelli's drawings will be compared with those of Michelangelo and Cellini. The broader question considered, however, is when, how, and why scupltors drew. EVery Renaissance sculptor who set out to make a work in metal or stone would first have made a series of preparatory models in wax, clay, and/or stucco. Drawing was not an essential practice for sculptors in teh way it was for painters, and indeed, most surviving sculptors' drawings are not preparatory studies for works they subsequently executed in three dimensions. By comparing bot rough sketches and more finished drawings with related three-dimensional works by the same artists, the importance of drawing for various individual sculptors will be examined. When sculptors did draw, it often indicated something about the artist's training or about his ambitions. Among the most accomplished draftsmen were artists like Pollaiuolo, Verrocchio, and Cellini, who had come to sculpture by way of goldsmithery, a profession that required profieciency in ornamental design. Artists who soought to become architects, meanwhile - the likes of Michelangelo, Giambologna, and Ammanati - similarly needed to learn to draw, since architects had to provide plans, elevations, and other drawings to assistants and clients and had to imagine the place of individual figures within a larger multi-media ensemble. Certain kinds of projects, moreover - fountains and tombs, for example - required drawings to a degree that others did not. Sections on the Renaissance goldsmith-sculptor and sculptor-architect will allow comparison of the place drawing had in various artists' careers. Beginning with a chapter dedicated to the importance of draftsmanship in the education of sculptors, showing works by Finiguerra, Cellini Bandinelli, and Giambologna, the book will be split up into chapters dealing with the various challenges scupltors faced while drawing objects in the round, reliefs, and architectural structures. A central section will focus on Bandinelli, demonstrating the importance drawing held for him while he was preparing sculptures and as an independent token of his artistry.

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Book SynopsisGriselda Pollock reintroduces an important feminist forerunner in this new, full-colour setting of Helen Rosenau’s 1944 book Woman in Art Helen Rosenau (1900–1984) was part of the influential migration of European Jewish intellectuals who fled to Britain and the United States during the 1930s, bringing with them exciting innovations in art history’s methods. Only Rosenau, however, centred gender in her analysis. The result—her book Woman in Art: From Type to Personality—is a feminist art-historical project, as relevant today as when it was first published in 1944, in which Rosenau drew on contemporary discussions of gender in anthropology, philosophy, sociology, law, theology, history, and literature. In this new volume, ahead of the eightieth anniversary of its original publication, Rosenau’s erudite and accessible text is prefaced with a personal memoir by Adrian Rifkin, who was once her student, new research into the refugee experience by Rachel Dickson, and a portrait of Rosenau as feminist intellectual by Griselda Pollock. In conversation with this new setting of the original text, richly illustrated with colour images, Pollock offers eye-opening new readings of key aspects of Rosenau’s methods, concepts, arguments, and interpretations of famous artworks, establishing the place of Rosenau’s “little book of 1944” in the historiographies of both feminist thought and cutting-edge art history across two centuries. A digital facsimile of Woman in Art (1944) can be found on the Internet Archive (archive.org)

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Book SynopsisIn 1919, the state art school in Weimar was reopened under the direction of Walter Gropius, with a radical teaching approach and under the new name Bauhaus. Four years passed before the first exhibition took place, which conveyed a new approach to art to the enthusiastic public and carried the school’s ideas all over the world. The catalogue Staatliches Bauhaus in Weimar 1919–1923 was published in 1923 to accompany this first public appearance. In this interdisciplinary oeuvre catalogue, the idea and potential of the Bauhaus found their way onto paper for the first time. In addition to numerous project presentations, the theoretical approaches of Paul Klee, Wassily Kandinsky, and Gertrud Grunow convey the teaching methods of the various workshops. Gropius’ preface traces the structure of the State Bauhaus and presents the unique reformation approach that demands and teaches the unity of technology and art. The illustrations from the various workshops also show projects by students whose connection to the Bauhaus is less known. With the original layout by László Moholy-Nagy and the cover designed by Herbert Bayer, the book is an important testimony to that legendary avant-garde movement. This facsimile is supplemented by a commentary that places this publication, rare and long out of print, in a historical context and documents the Bauhaus from its idea to its establishment as a renowned art and design school. The German facsimile is accompanied by the first full English translation of the catalogue, making it accessible to an international audience.

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Book SynopsisWith How to Draw Manga Furries, you'll follow the lead of five professional Japanese artists as they show you how to bring dynamic fantasy characters to life—on the page or on screen!Furries are anthropomorphic characters—animals who have human traits (not to be confused with kemonomimi, or humans with some animal features!). They're widely popular in manga, anime and cosplay—from fan favorites like Wolf's Rain and Lackadaisy to the newer Beastars and BNA: Brand New Animal. The genre allows creators to be more imaginative, freeing artists from traditional human personality traits, actions and physical appearance.With the help of the expert authors, you'll learn to draw: Anatomically correct furry manga bodies, skulls, faces, appendages and tails with human proportions Characters based on cats, dogs, wolves, foxes, goats, birds, whales, sharks, crocodiles, dragons—and more! Furries seen from their most powerful perspective—from muzzle to rump to flipper tip Illustrations shown from many various angles with different poses, positions and movements And so much more! With this book as your guide, your imagination will run wild as you create memorable heroes, wicked villains and compelling sidekicks with your pen or on screen.*Recommended for artists 10 & up*

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Book SynopsisBest known for his depictions of the human form, Schiele was also interested in portraying the beauty and structure of the world he inhabited. In fact, Schiele's paintings of the countryside and his native Vienna comprise a large proportion of his body of work. Nearly one hundred of the artist's landscapes are exquisitely reproduced in this handsome book and presented alongside photographs of the scenes he depicted, taken from the vantage point of the original works. This volume proves that Schiele's mastery extends beyond his radical renditions of the human figure and reveals themes that appear throughout his work. Schiele's landscapes represent an important facet of his career and are a valuable contribution to the school of European nature painting.

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Book SynopsisSuperb Yokai images from the world's leading museums and private collections!Japan's vast pantheon of supernatural creatures includes demons (yokai), monsters, ogres (oni), ghosts (yurei) and magicians—mythical beings from folklore and popular culture which continue to thrill readers of traditional stories and manga today.This richly illustrated book by Andreas Marks, the leading authority on Japanese woodblock prints, presents authentic illustrations and descriptions of 100 different creatures, including: Bakeneko: Monster cats in human form who lick lamp oil and prey on humans born in the year of the Rat Han'nya: Female demons with sharp and pointed horns, metallic eyes and a smirking smile Hihi: Large ape-like monsters who live in the mountains and have superhuman strength, enabling them to kidnap and kill humans Mikoshi-nyudo: Yokai with an enormously extended necks who appear only at night And many more! The striking visual examples in this book are drawn from the rich canon of early Japanese prints, books, and paintings—sourced from leading museums, libraries and private collections worldwide. They show the "original" forms and appearances of the creatures which form the basis for all subsequent depictions.Also included are two long handscrolls from the Minneapolis Institute of Art (A Collection of Monsters and Night Parade of One Hundred Demons) which are reproduced here for the very first time.Prints and Paintings sourced from the following list of museums, libraries and private collections:Art Institute of ChicagoChristie's, London & New YorkThe Cleveland Museum of ArtHarold B. Lee Library, Brigham Young UniversityKyoto University, Main LibraryLibrary of CongressLos Angeles County Museum of ArtThe Metropolitan Museum of ArtMinneapolis Institute of ArtNational Museum of Japanese HistoryPrinceton University LibraryRijksmuseum, AmsterdamSmithsonian LibrariesTrade Review"Finding one's bearings in this wealth of fiends can be a challenge though, especially for Western readers who are not familiar with the imagery and symbolism of Japanese art. This is where Marks' latest volume, Japanese Yokai and Other Supernatural Beings, comes in handy: It describes 100 of the country's most ghastly creatures in great detail. It is also lavishly illustrated, primarily with ukiyo-e woodblock prints, but also with the odd painting here and there.…It is an excellent introduction to the field." --The Japan Times

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Book SynopsisAn authoritative visual history of one of the worldâs oldest and most vibrant cultures, drawing on South Asian art and artefacts from prehistory to the present. Arranged chronologically, and abundantly illustrated with expertly selected objects, this superb new overview connects todayâs India with its past. Early chapters uncover prehistoric objects from 1.5 million years ago, examine artefacts from the Indus Civilization, and follow the emergence and transmission of Buddhism, Jainism, Hinduism and Sikhism, as well as the incoming religions of Zoroastrianism, Islam and Christianity. During the medieval era, skills related to temple-building and sculpture-production in stone and bronze developed. From this remote period up to the present day, pilgrimage has been an important part of the spread of social, political and religious ideas. With the rise of the Mughals, the last Muslim dynasty of India, India once more became a leading economic power. The development of a distinct MughaTrade Review'A fascinating overview of centuries of cultural change' - BBC History'I cannot recommend this excellent book more highly. It is sympathetically written, it covers a huge and diverse span of history, and it is a joy to look at' - Chowkidar'The incredibly wide range of subjects and the fascinating cross-currents they throw up are a delight to discover ... A fine book that weaves together many of the strands that make up one of the world’s most fascinating cultures' - World of Interiors'Anyone approaching … the material culture of India will find here a succinct introduction to the historical, social or technological milieu in which it belongs. Forms an ideal companion for the collector or curator eager to contextualize material on a very wide canvas' - Journal of the History of Collections'South Asian history is so complex and layered that making sense of it can take considerable effort. Richard Blurton’s richly illustrated India: A History in Objects emphasizes precisely this complexity and diversity' - Asian Review of BooksTable of ContentsIntroduction 1. Prehistory and early history 2. Early empires and developing religions 3. Dynasties and the rise of devotion 4. Indo-Islamic South Asia 5. Europeans and the British in India 6. Independence and modernity

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Book SynopsisA HISTORY OF ROMAN ART The new edition of the leading textbook on Roman art, updated with new images and expanded geographic and cultural scope A History of Roman Art is an expansive survey of the painting, mosaic, sculpture, decorative arts, and architecture of ancient Rome. This acclaimed textbook provides a fully-illustrated narrative history of Roman art that spans a millennium, from the early origins of Rome to the era of Emperor Constantine. Interwoven throughout the text are themes of Rome's cultural inclusiveness and the importance of art in promoting Roman values, helping students understand how diverse cultures contributed to Roman life. Accessible, chronologically-organized chapters provide numerous examples of the arts, their cultural and historical context, descriptions of artistic techniques, and writings by ancient authorsenabling students to develop a rich appreciation of art's importance in the Roman world. Now in its second edition, this market-leading textbook featTable of ContentsList of Illustrations xiv Preface to the Second Edition xxiv Preface to the First Edition xxv Note to Students xxvii Acknowledgments xxix Walk Through Tour xxx Timeline xxxii About the Website xxxvii 1 Introduction To Roman Art History 1 Timeline 1 Cultural Property Controversies 2 Dating Dilemmas in Roman Art History 3 Restoration Issues in Roman Art History 4 The Role of Elites in Public Art and Architecture 4 Italic versus Classical Styles and Forms I: Temples 5 Italic versus Classical Styles and Forms II: Portraiture 7 Female Portraiture and Embedded Values 9 Romans Judging Roman Art: Values and Class 11 Art, Context, and Social Status I: The Tomb of Vestorius Priscus 12 Art, Context, and Social Status II: The Roman House 14 Narrative Moment 16 Suggestions for Further Reading 17 2 Regal Period, 753–509 BCE 18The Etruscans and the Question of Etruscan Dominance Timeline 18 Introduction to the World of Early Rome and Italy 19 The Etruscans 21 Etruscan architecture and city planning 21 Etruscan Orientalizing art 23 Etruscan sculpture and portraiture 25 Art in Latium, the Region Around Rome 27 Archaic Rome: City Planning and Architecture 29 Temple of Jupiter Optimus Maximus 34 Murlo (Poggio Civitate) 36 Etruscan Tomb Paintings 41 Greco‐Italic Archaic Architecture: A Doric Temple at Pompeii 45 Conclusion 46 Suggestions for Further Reading 46 3 The Early Republic, 509–211 BCE 48The Spread of Roman Power and Forms Timeline 48 Introduction to Early Roman Republican Art 49 A brief historical survey of the Early Republic 50 Greek wall painting: Tomb of the Diver, Paestum 50 Etruscan tomb painting of the fifth century BCE 52 Etruscan terracotta plaque, Pyrgi 54 Lucanian Tomb Painting, Paestum 56 Etruscan tomb painting of the fourth century BCE 60 Roman tomb painting of the Early Republic 64 Etruscan and Central Italian Bronze Sculpture 67 Terracotta Votive Sculpture 71 Roman Architecture and Urban Planning 73 Ostia: Rome’s first colony and planned community 74 Maritime colonies at Cosa and Paestum, 273 BCE 75 Conclusion 79 Suggestions for Further Reading 79 4 The Later Republic, 211–31 BCE 81The Origins of a Hellenistic Roman Culture Timeline 81 Introduction 82 Architecture and Urban Planning 82 Architecture 84 Greek urban planning and sanctuary design 88 Roman Wall Painting in the Late Republic 100 First Style wall painting, 200–80 BCE 100 Second Style wall painting, 80–15 BCE 104 Late Republican Sculpture 116 Conclusion 122 Suggestions for Further Reading 122 5 The Age of Augustus, 31 BCE–14 CE 124The Art of Empire Timeline 124 Augustus 125 The Portraits of Augustus 126 Augustus and the City of Rome 130 The Campus Martius 130 Forum Augustum 135 The Palatine Hill 140 Third Style Wall Painting 144 Third Style painting at Oplontis 145 The Emulation of Augustan Art 146 Traditional Italic Style in the Age of Augustus 149 Concrete Architecture 154 Glass and Gems 155 Conclusion 156 Suggestions for Further Reading 157 6 The Julio-Claudians, 14–68 CE 159The Rise of Roman Dynastic Art Timeline 159 Introduction 160 Tiberius, 14–37 ce, and Caligula, 37–41 CE 160 Portraiture 161 Dynastic monuments 161 Palace architecture and mythological sculpture 165 Claudius, 41–54 CE 171 Portraiture 171 Dynastic monuments 172 Historical reliefs 174 Architecture 176 Nero, 54–68 CE 177 Portraiture of Nero 178 Portraiture of Julio‐Claudian women 179 Palace architecture 180 Non‐Mythological Wall Painting, Pompeii 185 Public Buildings and Interior Decoration, Pompeii 186 Decorative Metal, Gems, and Glass 190 Conclusion 195 Suggestions for Further Reading 195 7 The Flavians, 69–96 CE 197Civil War, Disaster, and Response Timeline 197 Civil War of 68–69 CE 198 Vespasian and Titus, 69–81 CE 199 Portraiture 200 Architecture 200 Pompeii and Herculaneum 205 Herculaneum 206 Pompeii 209 Domitian, 81–96 CE 215 Portraiture 217 Historical reliefs 218 Architecture 226 Decorative Metal and Glass 232 Conclusion 233 Suggestions for Further Reading 233 8 Trajan and Hadrian, 98–138 CE 235Emperors from the Provinces Timeline 235 Nerva, 96–98 CE 236 Trajan, 98–117 ce, and Hadrian, 117–138 CE 237 Portraiture of Trajan and Hadrian 238 Portraiture of empresses 239 Architecture 239 Sculpture 249 Historical reliefs 249 Funerary sculpture 262 Mythological sculpture 263 Mosaics 266 Lamps 270 Conclusion 271 Suggestions for Further Reading 271 9 Antonine Emperors, 138–192 CE 272From an Empire of Gold to One of Rust Timeline 272 Introduction 273 Antonine Portraiture 274 Portraits of emperors and empresses 274 Non‐imperial portraiture 276 Commodus portraiture 277 Architectural Sculpture 280 Relief sculpture honoring Hadrian and Antoninus Pius 280 Reliefs from victory monuments of Marcus Aurelius 283 Architecture 284 Wall Painting and Mosaics 287 Sarcophagi 292 Mythological sarcophagi 292 Biographical sarcophagi 294 Children’s sarcophagi 297 Fayum Mummy Portraits 297 Carved Gems 301 Conclusion 301 Suggestions for Further Reading 301 10 Civil War and Severan Dynasty, 193–235 CE 303Calm before the Storm Timeline 303 Introduction 304 Trends and Developments in Severan Art 304 Portraiture 305 Portraiture of Julia Domna 306 Baths of Caracalla: Architecture and Sculpture in Rome 309 Historical Reliefs 314 Mosaic Art under the Severans 317 Sarcophagi 319 Forma Urbis Romae 322 Roman Temples at Baalbek 325 Severan Building Program at Lepcis Magna 330 Gems 333 Terracotta 334 Conclusion 334 Suggestions for Further Reading 335 11 The Third Century and The Tetrarchy, 235–306 CE 336Crisis and Renewal Timeline 336 Third‐Century Emperors and the Tetrarchy 337 Philip the Arab, 244–249 CE 337 Decius, 249–251 CE 337 Valerian, 253–260 CE 340 Aurelian, 270–275 CE 340 Diocletian, 284–305 CE 341 The Tetrarchy 343 Coin Portraits of the Third Century CE 344 Historical Reliefs 346 Decennalia Monument, Forum Romanum, Rome, 303 CE 347 Arch of Galerius, Thessalonica, 303 CE 348 Sarcophagi 350 Imperial Architecture 355 Baths of Diocletian 355 Architecture and mosaics: Villa at Piazza Armerina, Sicily 357 Mosaics from the City of Antioch‐on‐the‐Orontes in the Roman East 361 Glass and Gems 365 Conclusion 369 Suggestions for Further Reading 369 12 Constantine, 306–337 CE 371Christian Empire and the Decline of the West Timeline 371 Constantine, the First Christian Emperor 372 Portraiture 373 Architecture at Trier: Building a Provincial Capital 374 Architecture and Sculpture at Rome: Augmenting the Imperial Capital and Creating a Dynasty 377 Basilica Nova 377 Arch of Constantine 378 Constantinian church and tomb architecture in Rome 383 Silver Vessels in the Fourth Century CE 387 Mosaics 390 Conclusion 393 Epilogue: The Fall of Rome and the Rise of New Romes 394 Suggestions for Further Reading 399 Glossary 400 Guide to Further Reading 403 Index 406

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Book SynopsisCurated by Vogue editors Hamish Bowles and Chloe Malle, this updated and expanded edition of Vogue and the Metropolitan Museum of Art Costume Institute covers five years of the Met Costume Institute’s exhibitions and galas through the lens of the influential style magazine.Introduction by Anna WintourForeword by Max Hollein, director of the Metropolitan Museum of Art The Metropolitan Museum of Art Costume Institute’s annual fashion exhibition is the most prestigious of its kind, featuring subjects that both reflect the zeitgeist and contribute to its creation. Each exhibition—from 2005’s Chanel to 2011’s Alexander McQueen: Savage Beauty and 2012’s Schiaparelli and Prada: Impossible Conversations—creates a provocative and engaging narrative drawing hundreds of thousands of visitors. This updated edition includes material from 2015’s China:

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Book Synopsis"A painting must stand as a painting, made by human hand," wrote Caspar David Friedrich, "not seek to disguise itself as Nature." One of his generation's most popular painters, Friedrich imagined landscapes of powerful beauty and spirituality from within the confines of his studios. This breathtaking monograph, filled with glorious reproductions and details of his paintings, argues for Friedrich's reputation as a sublime artist and interpreter of nature. In his thoughtful and well-researched commentary, author Johannes Grave explores Friedrich's approach to landscape painting as well as his revolutionary thoughts about how these paintings should be received by their viewers. Looking closely at pieces such as Monk by the Sea, Abbey in the Oakwood, and the Tetschener Altar, Grave shows how Friedrich developed an innovative approach to landscape painting, one that communicated a new sense of space and time, and which draws the viewer into a unique aesthetic experience. Highly readable, insightful, and copiously illustrated, this compelling book sheds crucial light on Friedrich's celebrated body of work.Trade Review"The sumptuously illustrated Caspar David Friedrich...is a good guide to one of the major artists of the Romantic era." --Tulsa World"Luxuriant." -The Huffington Post "[Friedrich's] haunting and mysterious canvases are beautifully reproduced by Prestel in Caspar David Friedrich." - Publishers Weekly"Caspar David Freidrich stands out, primarily for its size and lavish reproductions...of paintings, drawings and prints by this great German Romantic. It conveys a fuller sense of Friedrich's enigmatic, landscape-centered art than any single museum or exhibition could possibly provide." - The New York Times "[B]y far the most sumptuous and historically informed text [on Friedrich]. Building on the insights of previous critics and scholars, Grave skillfully assesses Friedrich's canvases (reproduced here more beautifully than in any previous book), but his greater achievement is authoritatively placing Friedrich's work in its cultural, intellectual, and aesthetic context." - The Atlantic

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Book SynopsisLois van Baarle is a freelance animator/illustrator from the Netherlands who graduated in 2009 from the Hogeschool voor de Kunsten Utrecht. Since then, her work has become very popular across the internet, with her Facebook followers closing in on one million and her Twitter account watched by over nineteen thousand eager eyes. The Art of Loish is her first "art of" book, and will examine her inspirations while showcasing some of her early work. Following this, the reader will learn how she developed her very distinctive style and discover advice as she discusses her working methods, offering tips on a variety of techniques that she utilizes in her art every day! The additional exclusive content of this book makes it a must-have for any lover of Loish's work!

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Book SynopsisIn this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences.Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasised the possibility of progress while trying to destroy what came before, and voraciously sought out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums.By practising what she calls potential history, Azoulay argues that we can still refuse the imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions - an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums - to chart the ways imperialism has sought to order time, space, and politics.Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as "past" and making the repair of torn worlds the substance of politics.Trade ReviewAriella Azoulay takes on the seemingly impossible task of teaching us how to unlearn: unlearning imperialism, unlearning the archive, unlearning our complicity with regimes of violence, domination and exploitation, and most importantly for this ambitious volume, unlearning photography and its capacity to foreclose 'potential histories' that must urgently be realized and reclaimed. The monumental implications of unlearning are revealed with dizzying effect through her rigorous analysis, lucid writing, and vivid examples. In Potential History, she once again delivers a work of breathtaking scope that challenges us to reconfigure both what constitutes history, as well as what it means to learn from and unlearn toward its radical potential for living otherwise. -- Tina Campt, author of Listening to ImagesA magisterial call to reorient our relations to objects, archives, art, and plunder. * Protocols *A remarkably rich and evocative history on the problem of violence and the importance of engaging aesthetics. -- Brad Evans * Los Angeles Review of Books *Azoulay has produced a unique handbook for the 2020s that details how, why, when and where to say no in the affirmative. Her greatest achievement is that, against the foreshortened horizons of a despoiling barbarism, she makes all our tomorrows thinkable. -- Guy Mannes-Abbott * Third Text *Offers revitalising approaches to imperialism and to photography as a cultural phenomenon, grounded in the re-cognition of the figures 'leaning against the edge' of photographs. -- Louis Rogers * review31 *Azoulay has produced a unique handbook for the 2020s that details how, why, when and where to say no in the affirmative. Her greatest achievement is that, against the foreshortened horizons of a despoiling barbarism, she makes all our tomorrows thinkable. -- Guy Mannes-Abbott * Notes From a Fruitstore *Across some six-hundred pages, Azoulay accomplishes that rare thing wherein her call becomes more urgent and acutely resonant even as the contours and magnitude become less perceivable and more outsized.3 By the book's end, she has thoroughly denaturalized the terms of political classification and made the claim for a worldly sovereignty beyond the nation-state. -- Luke Urbain, University of Wisconsin-Madison * InVisible Culture: An Electronic Journal for Visual Culture *By creating a "potential history," Azoulay questions the imperialist construction of time, space, and politics through objects and experiences of struggles around the world, from the original peoples in the Americas, to the Congo under King Leopold II. * The Architect's Newspaper *A political call to arms that argues the need for critical examination of archive material...provocative and stimulating. -- Sean Sheehan * The Prisma *Much of Potential History's 500 pages bear particular relevance to this moment of racial reckoning and faltering of neoliberal capitalism. As mass movements mobilize in the streets against anti-Black police brutality, white supremacy, and systemic, structural racism, her call for reconceptualizing "the strike" to include historians, artists, photographers, museum workers, and "the governed" seems poignant. -- Stephen Sheehi * Hyperallergic *To acknowledge the violence inherently embedded in archives-particularly in cultural archives that the neutral we understand as our cultural commons-and to then envision new ways of being with these cultural objects so as to allow them to speak their own futures are essential components of [Azoulay's] urgent project of unlearning imperialism. -- Rachel Stevens * World Records Journal *Building from Azoulay's argument that our actually existing commons-whether they are water systems or cultural archives-are constituted by imperial violence, we should ask how to transform imperial public spheres and institutions into worldly spaces of care and interdependence. -- Kareem Estefan * World Records *To acknowledge the violence inherently embedded in archives-particularly in cultural archives that the neutral we understand as our cultural commons-and to then envision new ways of being with these cultural objects so as to allow them to speak their own futures are essential components of [Azoulay's] urgent project of unlearning imperialism. -- Rachel Stevens * World Records *A codependent politics of appearance.manifests as superficial investment in others' problems, often to satisfy the emotional needs of the voyeur. This mode of despotic empathy has displaced the sharing of a world-in-common-precisely what, in Ariella Aïsha Azoulay's wording 'was destroyed and should be restored'-with ubiquitous spectacles of privation and racialized violence. -- Irmgard Emmelhainz * World Records *According to Azoulay, an initial problem with unlearning imperialism is that for most of us, our thinking and acting-indeed, our very being-in-theworld-is conditioned by imperialism. Unlearning imperialism is a paradoxical task because we must first learn how imperialism works by rendering its working explicit so that we might unlearn it. -- Corey McCall * Contemporary Political Theory *The book reads as though it were composed by Walter Benjamin's "Angel of History," who backs, horrified into the future while in front of him the ruins pile up. The angel, in this case, is the citizen, forced into the position of a perpetrator and trying to unwind history, to undo it not to return to a "golden age," but to do away with traditional chronological thinking altogether. -- Margaret Olin * Political Theology *

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Book SynopsisWith more than 300 gorgeous color photographs, Vogue: Fantasy & Fashion is a dream book of empowering and fantastical fashion narratives—from the Brothers Grimm to futuristic scenarios—told in the culture magazine’s inimitable style.   Lavishly illustrated, this gift-ready coffee table book celebrates the magazine’s strong and deeply rooted tradition of storytelling through magical, narrative portfolios. Fashion’s greatest power is its ability to make people dream; to create new worlds. Whether falling down a rabbit hole, conquering new digital frontiers, or exploring the limits of surrealism, the heroines who feature in photographs by great talents like Annie Leibovitz, Steven Meisel, Irving Penn, and Steven Klein are writing their own tales, defining their own destinies.   Featuring well-known images as well as unexpected gems from the archive, Vogue: Fantasy & Fashion docum

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Book SynopsisThe First Signs is the first-ever exploration of the little-known geometric images that accompany most cave art around the world—the first indications of symbolic meaning, intelligence, and language.     Join renowned archaeologist Genevieve von Petzinger on an Indiana Jones-worthy adventure from the open-air rock art sites of northern Portugal to the dark depths of a remote cave in Spain that can only be reached by sliding face-first through the mud. Von Petzinger looks past the beautiful horses, powerful bison, graceful ibex, and faceless humans in the ancient paintings. Instead, she’s obsessed with the abstract geometric images that accompany them, the terse symbols that appear more often than any other kinds of figures—signs that have never really been studied or explained until now.     Part travel journal, part popular science, part personal narrative, von Petzinger’s groundbreaking book starts to crack the code on the first form of graphic communication. It’s in her blood, as this talented scientist’s grandmother served as a code-breaker at Bletchley. Discernible patterns emerge that point to abstract thought and expression, and for the first time, we can begin to understand the changes that might have been happening inside the minds of our Ice Age ancestors—offering a glimpse of when they became us.Trade Review"Genevieve von Petzinger reveals that, beyond the iconic images of horses and bison so transcendent in their beauty, are 32 signs that may represent a vocabulary written literally in stone, symbols that offer an opening into the Paleolithic mind. This may represent one of the most extraordinary scientific insights of our time." -- Wade Davis, author of The Serpent and the Rainbow * Professor of Anthropology Faculty Associate, University of British Columbia *"If you love mysteries, you'll love this book. Archaeologist von Petzinger acts as guide and sleuth in this fascinating, accessible, and fast-paced exploration of Ice Age artists and the evocative cave paintings they left behind.Von Petzinger offers a new way to think about why our distant relatives created this art, and what it means. You'll come away with a deeper appreciation for these great artists, their love of animals and the natural world, and their connection to us." -- Virginia Morell, author of Animal Wise and Ancestral Passions.“In this wonder-filled book Genevieve von Petzinger takes us tens of thousands of years back in time, and to some stunningly beautiful sites, in a fascinating attempt to penetrate the psyches of those ancient people.” -- Ian Tattersall, author of The Strange Case of the Rickety Cossack and Other Cautionary Tales from Human EvolutionVon Petzinger has created a fascinating look at signs found in the caves that have not been thought of before. I have been in many of the caves myself and recognized many of the symbols. I thought her analysis of the symbols reflected the intelligence of our ancient ancestors. She has done a remarkable job of analyzing part of the cave art that has never been done in that way before." -- Jean Auel, author of the bestselling Earth's Children series"Fascinating, a journey through later prehistory, interspersed with personal anecdotes of her exploration. She delves expertly into many of the questions around the earliest expressions of art, symbols and language." -- Louise Leakey, paleontologist, Director at the Turkana Basin Institute"Brings fresh eyes and fascinating theses to the study of ancient rock art... Lively... Linking these systems to other graphic conventions may eventually yield some sort of Rosetta stone... Anyone who's longed to visit Lascaux or the caves of Cantabria will be eager to read von Petzinger's admirable efforts at cracking the code." * Kirkus *"An exceptional read that should capture the imagination of anyone fascinated by time, humanity, and prehistory." * Library Journal (Starred Review) *

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Book SynopsisBorn in London and raised in Nigeria, Shonibare employs a diverse range of media - from sculpture, painting and installation to photography and film - to probe matters of race, class, cultural identity and history. He is perhaps best known for his signature use of a colourful "African" batik fabric that actually originated in Indonesia and was introduced to Africa in the 19th century by British and Dutch colonisers. Incorporated into Victorian costumes, covering sculptures of extraterrestrials, or stretched like canvas for paintings, these vibrant textiles cleverly challenge issues of origin and authenticity. This book - the most comprehensive resource available on Shonibare - presents the best work of the London-based artist's career, including his high-profile project for the Fourth Plinth in Trafalgar Square, London and other innovative public sculptures. Whether lampooning Victorian propriety or commenting on what it means to be an "alien," Shonibare makes art that challenges straightforward interpretations.

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Book SynopsisA richly illustrated volume surveying the career of Caspar David Friedrich, the German landscape painter whose emotionally profound visions of nature are among the most iconic works of Romantic art The paintings and drawings of the nineteenth-century German landscape painter Caspar David Friedrich (17741840) brilliantly illuminate our experience of the natural world. This generously illustrated volume explores how Friedrich, who created some of the most indelible images of Romantic art, deployed signature motifsmoonlit skies, Gothic ruins, isolated figures, and misty panoramastogether with innovative compositional strategies to create paintings and drawings that are metaphorically rich and emotionally profound. Friedrich worked at the dawn of a new understanding in Europe of the human relationship with the nature, as German artists and intellectuals elevated the exploration of nature into a journey of self-discovery, yielding insights into spirituality, mortality, identity, and history. Essays by leading scholars examine Friedrich's career, considering how he created a new and open-ended pictorial language to express the Romantic vision of nature. Placing his works in cultural and historic context, the authors evaluate his status as an icon of German Romanticism and as a touchstone for visual culture in the United States, while also exploring his working methods and the complex themes that underpinned his art. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (February 8May 11, 2025)

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Book SynopsisThe autobiography of a society heiress who became the bohemian doyenne of the art world.Table of ContentsForeword • Introduction • Gilt-edged Childhood • Virginity • Marriage • End of My Life with Laurence Vail • My Life with John Holms • Hayford Hall • Death of John Holms • My Life with Garman • Yew Tree Cottage • Communism • Guggenheim Jeune • My Life During the War • My Life with Max Ernst • Peace • Life in the Duplex • Art of This Century • Interlude • Venice and the Biennale • Palazzo Venier dei Leoni • Ceylon, India and Venice Again • New York Revisited • Conclusion • Appendix: Venice • Index.

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Book SynopsisThe magic and mastery of anime springs to life in this gorgeous celebration of the genre that features more than one hundred and fifty full-color frames. A uniquely powerful form of artistic expression, anime has embraced complex and provocative ideas since its inception in the mid twentieth century. This dynamic and wide-ranging book explores eighty key themes of the genre, from wars to natural disasters, nature to ecology, childhood to magic, dystopias to fables. It looks at more than one hundred masterpieces of Japanese animation, including Akira, Ghost in the Shell, One Piece, Princess Mononoke, Grave of the Fireflies and Howl's Moving Castle, to show how practitioners consistently balance tradition with modernity and how anime's distinct style has influenced other forms of media such as video games, comic books and live-action films. Covering an enormous range of talent-from Isao Takahata, Katsuhiro O tomo, and Makoto Shinkai to Studio Ghibli and Mamoru Oshii-it demonstrates how anime makes room for limitless creativity. Unfettered by the physical constraints of nature's laws, these artists realize our deepest emotions and our wildest dreams.

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Book SynopsisAs one of the most successful fashion houses in existence, Chanel owes much to the templates first laid down by its founder - Gabrielle 'Coco' Chanel (1883-1971). Some of her most celebrated designs, such as the two-piece suit, the little black dress and the quilted handbag, remain in vogue to this day. Chanel designed first and foremost for herself: by creating clothes fit for an independent and active lifestyle, she anticipated the needs and wants of the modern woman. This beautiful book showcases a stunning array of Chanel's most notable designs from her 60 years in fashion, largely drawn from the collections of the Chanel Patrimoine, Paris and the V&A. It examines the cut, construction, embellishment and provenance of the ensembles, as well as the design themes and motifs Chanel returned to throughout her career. Newly commissioned photographs of the selected pieces, together with archival images, capture the design evolution of thie fashion icon.Trade ReviewFeatured in 'The Times' Four more essential coffee-table books to buy now, 4th October 2023 -- 'a beautiful coffee table book' - Knightsbridge London Christmas gift guide: for her, November 10th 2023 -- Featured in Citizen Femme Christmas Gift Guide 2023: For Her, November 20th 2023 -- '... more than enough material to delight even the most fastidious style aficionado.', Jack Moss, Wallpaper*, 19th December 2023 -- ‘beautiful’ Best Fashion Coffee Table Books, Orin Carlin, Hellomagazine.com, January 2024

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Book SynopsisTrees are in nature but also in our minds. Their shape have influenced how we communicate via diagrams, link ideas together and illustrate deeper human thoughts in art throughout history. Trees have been a recurrent metaphor for mapping information in numerous scientific domains, such as biology, genetics, sociology and linguistics and information visualisation is a growing area of interest amongst a variety of business practices. This book will expose our long-lasting obsession with trees, as metaphors for organising and representing hierarchical information, and provide a broad visual framework for the various types of executions, many dating back hundreds of years.

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Book SynopsisA sumptuous collection of fifty large-scale artworks from the American master Mark Rothko's color field period, with illuminating essays by Rothko's son and a San Francisco Museum of Modern Art curator of painting and sculpture. 'Sumptuously illustrated with reproductions of 50 paintings, this book celebrates the rich artistic legacy of American artist Mark Rothko and his signature works as a painter of abstract canvases.' – Publishers Weekly Mark Rothko's iconic paintings are some of the most profound works of twentieth-century Abstract Expressionism. This collection presents beautifully reproduced visuals of fifty large-scale artworks from the American master's color field period (1949–1970) to create a collectible art book to be treasured by Rothko fans and contemporary art enthusiasts. Accompanying text by Christopher Rothko, the artist's son and chair of the Board of Directors of the Rothko Chapel inTrade Review"All the decent books on Rothko disappear quickly, so a collective sigh of relief among art book­sellers here, as this new one is very much wel­comed from Chronicle Books." * The Bookseller *

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Book SynopsisFrom underground sensation to Hollywood film and now a coloring book - The Black Metal Coloring book will paint it all black.

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Book SynopsisThe perfect antidote to your digital diet, this is a delightful exploration of analogue product design that crosses categories and generations, celebrating the timeless allure of the real and tactile over the merely virtual. Covering sound, vision, communication and information, Analogue: A Field Guide is an evocative trip through an era of innovative design, profiling 250 classic objects from radios to turntables, TVs to cameras, and typewriters to telephones. Along the way, it surveys all the iconic brands as well as the technological developments that have made these devices possible. There is a growing nostalgia for physical, real-world interaction with design and technology and a desire to reconnect with both things and people, something that has been eroded by the digital revolution. The wide-ranging approach of this book enables it to show the deeper cultural and social significance of the analogue era, with the authority to convince

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Book SynopsisIn the spring of 2023, Fondation Louis Vuitton will be holding Basquiat x Warhol... Painting 4 hands, the most important exhibition ever devoted to the collaborative work of these two artists. The exhibition will feature more than 100 jointly signed paintings, in addition to individual works by Basquiat and Warhol, and works by other major artists (Keith Haring, Jenny Holzer, Kenny Scharf, etc.) in order to recreate the New York downtown art scene of the 1980s. From 1984 to 1985, Jean-Michel Basquiat (1960–1988) and Andy Warhol (1928–1987) jointly produced about 160 paintings, some of the largest in their respective careers. A genuine artistic dialogue of style and form had developed between them that dealt equally well with crucial issues such as the integration of the African-American community into the narrative of North America, a continent where Warhol was a major manufacturer of icons.

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Book Synopsis''Tiepolo: the last breath of happiness in Europe''The eighteenth-century Venetian painter Giambattista Tiepolo spent his life creating frescoes that are among the glories of Western art, yet he remains shrouded in mystery. Who was he? And what was the significance of the dark, bizarre etchings depicting sacrifice and magic, which he created alongside his heavenly works? Roberto Calasso explores Tiepolo as the last artist of the ancien régime and at the same time the first example of the painter of modern life evoked by Baudelaire. He was the incarnation of that peculiar Italian virtue sprezzatura: the art of not seeming artful.Translated by Alastair McEwen''A brilliant, eccentric, provocative . . . and thoroughly splendid celebration of a great painter'' John Banville, The New Republic''Calasso is a myth-maker ... a book that treats paintings as a kind of sorcery'' Peter Conrad, ObserverTrade ReviewCalasso has written a brilliant, eccentric, provocative, annoying, and thoroughly splendid celebration of a great painter. * The New Republic *As one has come to expect of this polyglot and polymathic author, the range of references that inform his viewings is broad, deep and effortless * The Art Newspaper *The next best thing to visiting Europe and seeing the painter's work . . . Calasso is one of the most demanding and intoxicating critics writing today. * Los Angeles Times *

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Book SynopsisA sequel to Winifred Nicholson: Liberation of Colour, this book is the first monograph on this highly talented artist who deserves to be better known. This book explores the career of the St Ives artist Kate Nicholson, daughter of Ben and Winifred Nicholson. The contents range from her early landscapes, to the still lifes painted in Cumberland and St Ives, the abstracts – many of them inspired by her travels in Greece – to the late works made on the Isle of Eigg in the Hebrides. Also examined is her artistic relationship with her mother, with whom she painted side-by-side in Cumberland and Scotland, and on their many Greek travels. It discusses her creative relationship with her father with whom she lived in St Ives in the mid-1950s for two years, as well as her friendship with many of the St Ives artists and her role in the Penwith Society. Published to accompany the exhibition Kate Nicholson at Falmouth Art Gallery, this book illustrates many works from both public and private collections. It draws on ground-breaking new research, together with the author’s experience of travelling with Nicholson on painting trips.Table of ContentsKate Nicholson The Paintings Landscape To Still Lifes Abstraction And Movement Myth And Spirit Chronology Index Acknowledgements Picture Credits

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Book SynopsisAs featured in the New York Times, ARTnews, Colossal, Metropolis and New York Magazine’s The StrategistA groundbreaking A-Z survey of the work of over 300 modern and contemporary artists born or based in AfricaModern and Contemporary African art is at the forefront of the current curatorial and collector movement in today’s art scene. This groundbreaking new book, created in collaboration with a prestigious global advisory board, represents the most substantial appraisal of contemporary artists born or based in Africa available. Features the work of more than 300 artists, including El Anatsui, Marlene Dumas, David Goldblatt, Lubaina Himid, William Kentridge, Julie Mehretu, Wangechi Mutu, and Robin Rhode, as well as lesser-known names from across Africa, with stunning and surprising examples of their art paired with insightful texts that demonstrate their contribution to the painting, sculpture, installation, photography, moving image, and performance art.Advisory Panel: Alayo Akinkugbe, Kavita Chellaram, Raphael Chikukwa, Julie Crooks, Tandazani Dhlakama, Oumy Diaw, Janine Gaëlle Dieudji, Ekow Eshun, Ndubuisi C. Ezeluomba, Joseph Gergel, Danda Jaroljmek, Omar Kholeif, Rose Jepkorir Kiptum, Alicia Knock, Nkule Mabaso, Lucy MacGarry, Owen Martin, Aude Christel Mgba, Bongani Mkhonza, Riason Naidoo, Paula Nascimento, Simon Njami, Robert Njathika, Ugochukwu-Smooth C. Nzewi, Chika Okeke-Agulu, Hannah O’Leary, Sean O’Toole, John Owoo, Brenda Schmahmann, Mark Sealy, Yasmeen Siddiqui, and Joseph L. UnderwoodTrade Review'African Artists moves toward filling the hole in the Western record of the continent’s creative output.' – New York Times'A comprehensive guide to the continent’s brightest stars.' – ARTnews'The volume comes at a time when modern and contemporary African art is at the forefront of curatorial and collector efforts.' – SixtySix'This volume makes a strong argument for the diverse mediums and messages coming out of the African continent.' – Elle Decor'Essential.' – Aesthetica'A groundbreaking new book.' – Red'A stunning coffee-table title that is itself a substantial, gorgeous display.' – Shelf Awareness 'Another terrific history-in-a-book from Phaidon.' – Chicago Tribune 'An insightful read for art novices and seasoned collectors alike.' – New York Magazine’s The Strategist 'One of the most expansive volumes of its kind.' – Colossal 'Beautiful and illuminating.' – Cool Mom Picks

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Book SynopsisA SUNDAY TIMES BOOK OF THE YEAR 'The first significant biography of the artist' Michael Prodger, The Times' 'Best art books of 2021' 'Exemplary ... a scintillating read' Alastair Sooke, Daily Telegraph 'For those who love Magritte and those who do not, Danchev's biography will come as a revelation' Literary Review René Magritte's surreal sensibility, deadpan melodrama, and fine-tuned outrageousness have all become inescapably part of our times. But these groundbreaking subversions all came from a middle-class Belgian gent, who kept a modest house in a Brussels suburb and whose first one-man show sold absolutely nothing. Through a deep examination of Magritte's friendships and his artistic development, Alex Danchev explores the path of an highly unconventional artist who posed profound questions about the relationship between image and reality, challenged the very nature of authenticity and whose influence can be seen in the work of everyone from Jasper Johns to Beyoncé.Trade ReviewDiligent and insightful ... Danchev proved an indefatigable researcher, and Sarah Whitfield does full justice to his labours -- Tim Adams * Observer *A virtuosic portrait of a star surrealist ... surely the definitive full-length biography ... immaculately researched, deeply felt -- Kathryn Hughes * Guardian *The first significant biography of the artist -- Michael Prodger, 'Best art books of 2021' * The Times *Deeply researched, stylishly written and unusually insightful * London Review of Books *Insightful and broad-reaching -- Alexander C. Kafka * Washington Post *Offers enthralling insight into the man behind the easel -- Susan Swarbrick and Teddy Jamieson, 'The 50 best books to give this Christmas' * Herald *Absorbing, masterful ... there are no lapses in this lively biography ... Magritte: A Life recounts the artist's life in a sympathetic and comprehensive manner, never reducing the mystery of one of the most influential of modern artists -- Alexander Adams * Art Newspaper *[A] monumental biography of the inimitable surrealist artist ... sure to be the definitive account of the extraordinary artist's life * Publishers Weekly *This is a fine book, and Whitfield's tenth chapter, covering the last twenty years of its subject's life, does Danchev's efforts full justice ... for those who love Magritte and those who do not, Danchev's biography will come as a revelation -- Charles Darwent * Literary Review *Exemplary ... a scintillating read -- Alastair Sooke * Daily Telegraph *Danchev's picture of [Magritte] is pointillist and enormous in scope. It is full of shock, for the casual Magritte fan who knows little about his life ... Biographies usually attribute weight to moments or eras in a person's life, building a narrative which will "explain" the artworks, but this one attempts no such thing ... Magritte: A Life paints scenes, all taken from life, but not forced into the realist mode which can constrain works of this type. -- Jo Livingstone * The New Republic *A fascinating portrait -- Christopher Turner * Apollo *Magritte could hardly be in safer hands -- Florence Hallett * inews *Praise for Alex Danchev's Cézanne: Danchev's Cézanne has... virtues of imaginative sympathy, independence of mind, and wide scholarship. He writes as if Cézanne's life and character are as immediately present before him as is the art. -- Julian Barnes * Times Literary Supplement *A brave new life of Cézanne ... much of this new material successfully illuminates Cézanne's inner life. An important book. * Sunday Times *This is the best account of [Cézanne's] astonishing career and Danchev responds to the challenge with great sensitivity and genuine brio. This is a book which will survive the test of time. -- John Golding CBE, Emeritus Professor of the Royal AcademyThe most engrossing biography of an artist that I have read for years. With lightness of touch, depth of thought, a vast cultural hinterland and an assured understanding of painting, Danchev marvellously brings to life Cézanne the man, as well as the pioneering artist called "the father of us all" by Picasso. -- Jackie Wullschlager * FT *

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