History of art Books

Book SynopsisTrade Review"This volume can be read as an introduction to Chinese architecture, or it can be used as a detailed reference tool. An important resource for anyone interested in architectural history." * Choice *Table of ContentsList of Illustrations vii Preface xv Editor's Note xvii Chronology of Chinese Dynasties xxi Map of China xxiii Biography of Fu Xinian xxv 1 Representations of Architecture on Vessels of the Warring States Period 1 2 Reconstruction of Northern Dynasties Buildings Based on Relief Sculpture and Murals in Cave-Temples at Maijishan 31 3 Early Buddhist Architecture in China 79 4 The Development of Timber-Frame Architecture during the Two Jins and the Northern and Southern Dynasties 97 5 Architectural Features of the Northern and Southern Dynasties and the Sui and Tang Periods in China as Reflected in Japanese Architecture of the Asuka and Nara Periods 140 6 Hanyuan Hall at Daminggong in Tang Chang'an 167 7 The Module in Tang Architecture 209 8 Imperial Architecture of Tang through Ming and Its Relation to Other Architecture 226 9 The Problem of Pillar Displacement with Respect to the Characteristics of Song Construction 253 10 Song Architecture in South China and Its Relation to Japanese Great Buddha-Style Architecture of the Kamakura Period 273 11 Northern Song Architecture in the Painting A Thousand Li of Rivers and Mountains by Wang Ximeng 296 12 Typical Design Features of Ming Palaces and Altars in Beijing 315 Glossary 349 Index 375

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Book SynopsisWho branded painting in the Pop age more brazenly than Richard Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter, and Ed Ruscha? And who probed the Pop revolution in image and identity more intensely than they? This book presents an interpretation of Pop art through the work of these Pop Five.Trade Review"Foster's book offers the most sustained demonstration to date of the once contested belief that, far from merely reproducing their source materials, Pop paintings reinvent them... Foster shines here... His great pages on $he (1958-61 ...) are unmatched in their grasp of tabular painting."--Anne Wagner, London Review of Books "Foster is an erudite analyst of the five artists he has chosen--Richard Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter, and Ed Ruscha--and an illuminating guide to their paintings and sculpture... For readers interested in placing Pop art in the contexts of postmodernist and postructuralist theories of subjectivity, Foster's book will be an important reference work. But for a general reader more interested in the history and evolution of Pop, The First Pop Age is most provocative for the ideas half-hidden or unstated in the text about Pop's rise and fall, ideas suggested by Foster's juxtapositions of artists and works and his increasing emphasis on the traumatic, distressed, and apocalyptic strains in Pop imagery."--Elaine Showalter, Literary Review "Foster digs deep into the work of five pop painters: Richard Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter and Ed Ruscha, paying particular attention to the formal qualities and often complex processes they used to create their paintings. This marks a shift from traditional readings of pop, which privilege subject matter over form... Revolutionary... Foster expertly leads us through the intricacies of one of art history's most popular movements."--Anny Shaw, Art Newspaper "[Foster] brilliantly weaves a history of five Pop artists, including Andy Warhol, to detail his proposition that Pop Art, as much as it came as a reaction to the pressures of modernity, was centrally concerned with the role of the image in contemporary culture."--Joel Kuennen, ArtSlant "The First Pop Age presents a fresh and highly engaging take on one of the most worked-over movements in the history of art... Any book by Foster, Professor of Art and Archaeology at Princeton University, is something of an event in art history circles and The First Pop Age is no exception. It is lavishly illustrated throughout."--Cassone Magazine "Drawing on historical and theoretical contexts, this volume explores how these artists (Richard Hamilton, Andy Warhol, Roy Lichtenstein, Gerhard Richter, and Ed Ruscha) exploited new subjects and media in the context of traditional art forms. Richly illustrated with numerous color reproductions, the book also reveals how the work of these key figures evidenced an ambiguous attitude toward mass culture and high art."--Choice "Copiously illustrated, the book is full of sharp insights into Pop social contexts as well as the art itself. And it reminds us why the style takes its name from 'popular.'"--Dan Bischoff, Newark Star-Ledger "In The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha, Hal Foster tries to bring thinking back to Pop Art by arguing that it began with thinking--specifically, the same kind of thinking that could save art today... Foster truly excels when he takes on Warhol, who sits at the center of all things Pop like a bewigged Satan at the frosty center of Dante's Hell, with all things Pop eventually feeding down to him... Hal Foster's The First Pop Age makes the Pop Artists of years gone by seem not only much more serious than ever, but also much more seriously relevant to our image-confused modern consciousness than ever."--Bob Duggan "Anyone seeking a crisp argument for the importance of contemporary art history should welcome the introduction of Hal Foster's latest book, The First Pop Age... [Foster's] set of claims, briskly laid out, offers a model for what art history might now aim to achieve... [The First Pop Age] is the definitive book on Pop and subjectivity. It is a book we have needed for some time. It is only a bonus, then, that The First Pop Age is such a pleasure to read. Foster's voice is lively and bright; one has the feeling of listening to a series of captivating scholarly talks, ideas tumbling out as if effortlessly. The compact volume is simply designed but lushly illustrated, a perfect size for toting and dipping into, one essay at a time... [A]n excellent book--a significant contribution to the huge literature on Warhol... The First Pop Age is a virtuosic summation of thoughts Foster has been working on for years, and cumulatively it offers some of art history's most piercing characterizations of recent capitalist subjectivity... It is no surprise that Foster has produced such a powerful account. He has been a major figure in modernist art history for thirty years--having demonstrated just how richly valuable art can be as a means for understanding twentieth-century experience... [T]his book is indispensible. We will not soon find a better or more convincing statement of the ways in which popular culture has fashioned a new subject."--Joshua Shannon, Art JournalTable of ContentsHomo Imago 1 Chapter 1: Richard Hamilton, or the Tabular Image 17 Chapter 2: Roy Lichtenstein, or the Cliche Image 62 Chapter 3: Andy Warhol, or the Distressed Image 109 Chapter 4: Gerhard Richter, or the Photogenic Image 172 Chapter 5: Ed Ruscha, or the Deadpan Image 210 Pop Test 249 Notes 253 Photography and Copyright Credits 321 Subject Index 323 Title Index 335

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Book SynopsisKurt Schwitters revolutionized the art world in the 1920s with his Dadaist Merz collages, theater performances, and poetry. But at the same time he was also writing extraordinary fairy tales that were turning the genre upside down and inside out. This book gathers thirty-two stories written between 1925 and Schwitters' death in 1948.Trade Review"These byproducts from [Schwitters,] a man who tried his hand at much else, and gained relatively little attention for any of it, who lived with his parents and then in the house he inherited from them in a no-account place in Germany, and then in exile, are among the few wonderful and imperishable things of the twentieth century."--Michael Hofmann, New York Review of Books "Jack Zipes has now usefully collected and translated a handy anthology of Schwitters short stories, written from 1918 to 1948, selecting those he considers to be 'oddly modern fairy tales.' ... Schwitters's Merz fairy tales are lies that speak the truth."--Peter Read, Times Literary Supplement "Mostly unpublished during Schwitters's lifetime, the tales have been rescued from oblivion by teams of eager Germanists, and selected, translated and introduced for this edition by eminent fairytale scholar Jack Zipes. The tales are accompanied by cutely sinister illustrations by Irvine Peacock."--Justin Clemens, The Australian "Including four pieces Schwitters wrote in English--he had abandoned German, as the Nazis' language--this volume stands as a substantial, chronologically representative, and delightful addition to the still small number of texts by Schwitters published in the U.S. Zipes supplies snappy translations and a thoughtful critical introduction."--ChoiceTable of ContentsTranslator's Note and Acknowledgments xi Kurt Schwitters, Politics, and the Merz Fairy Tale 1 Tales Written in German Chapter 1: The Swineherd and the Great, Illustrious Writer 41 Der Schweinehirt und der Dichterfurst (1925) Chapter 2: Lucky Hans 49 Der gluckliche Hans (1925) Chapter 3: Happiness 57 Das Gluck (1925) Chapter 4: The Little Clock Spirit and the Lovers 61 Uhrgeistchen und Liebespaar (1925) Chapter 5: The Proud Young Woman 63 Das stolze Madchen (1925) Chapter 6: An Old Fairy Tale 67 Altes Marchen (1925) Chapter 7: The Scarecrow 72 Die Scheuche (1925)--A children's book created with Kate Steinitz and Theo van Doesburg Chapter 8: He 85 Er (1927) Chapter 9: Fish and Man 103 Fisch und Mensch (1927) Chapter 10: The Squinting Doll 105 Die schielende Puppe (1927) Chapter 11: Three Suitcases 107 Drei Koff er (1927) Chapter 12: Fairy Tale 115 Marchen (1928) Chapter 13: A King without People 116 Konig ohne Volk (1932) Chapter 14: The Story about the Good Man 119 Die Fabel vom guten Menschen (1933) Chapter 15: Happy Country 121 Gluckliches Land (1933) Chapter 16: The Story about the Rabbit 123 Die Geschichte vom Hasen (1934) Chapter 17: The Three Wishes 125 Die drei Wunsche (1936) Chapter 18: The Ugly Young Woman: A Fairy Tale 131 Das hassliche Madchen: Ein Marchen (1937) Chapter 19: The Two Brothers 137 Die beiden Bruder (1938) Chapter 20: The Fish and the Ship's Propeller 143 Der Fisch und die Schiff sschraube (1938) Chapter 21: Transformations 145 Verwandlungen (1938) Chapter 22: He Who Is Mentally Retarded 153 Der, der da geistig arm ist (1938) Chapter 23: Hans and Grete: A Fairy Tale about Children Who Live in the Woods 161 Hans und Grete: Marchen von Kindern, die im Walde wohnen (1939) Chapter 24: The Fairy Tale about Happiness 165 Das Marchen vom Gluck (1930-1940) Chapter 25: Normal Insanity 169 Normaler Unsinn (1930-1940) Chapter 26: What Is Happiness 173 Was ist das Gluck (1940-1945) Chapter 27: The Man with the Glass Nose 179 Der Mann mit dem glasernen Nase (1945) Chapter 28: Once upon a Time There Was a Tiny Mouse 183 Es war einmal eine kleine Maus (1941-1946) Tales Written in English Chapter 29: The Flat and the Round Painter 189 (1941) Chapter 30: London: A Fairy Tale 193 (1942) Chapter 31: The Flying Fish 197 (1944) Chapter 32: Twopenny Novel about an Ugly Girl 203 (1941-1945) Appendix: German Version of "Die Scheuche" 207 Notes 221 Bibliography 233

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Book SynopsisTrade Review"Winner of the Jordan Schnitzer Book Award for Jews and the Arts: Music, Performance, and Visual, of the Association for Jewish Studies""Finalist for the Award for Excellence in the Historical Study of Religion, American Academy of Religion""This thought-provoking book takes a new approach to the graffiti found in holy sites, tombs and sometimes civic structures."---Juan P. Lewis, Journal of Religion & Society"This thought-provoking book takes a new approach to the graffiti found in holy sites, tombs and sometimes civic structures, regarding them as words that do things rather than simply record a visit."---David Frankfurter, Journal of Roman Studies

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Book SynopsisTrade Review"Eloquently translated. . . This is a deeply moving book about a deeply moving artist. . . . Panofsky’s analyses carry compelling explanatory power because they are rooted in sensitive observation. . . . [The] presentation offered here takes the readers closer to Michelangelo the artist. We acutely feel the engagement behind the methodology"---Matthias Wivel, The Burlington Magazine"[Gerda Panofsky’s] invaluable, sixty-five page introduction provides a fascinating account of Panofsky’s life and career and his intellectual trajectory, with special regard to his engagement with Michelangelo studies and his gradual disengagement from that early passion, especially after his move to the United States. . . . Written about two of the most significant artists of all time, Panofsky’s Michelangelo’s Design Principles offers us a welcome opportunity to observe the maturing of one of the great figures of Art and Intellectual History."---William E. Wallace, Journal of Art Historiography

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Book SynopsisSetting out to recover the roots of modernity in the boulevards, interiors, and arcades of the "city of light," Walter Benjamin dubbed Paris "the capital of the nineteenth century." In this eagerly anticipated sequel to his acclaimed Coasts of Bohemia: A Czech History, Derek Sayer argues that Prague could well be seen as the capital of the much darTrade ReviewWinner of the 2014 George L. Mosse Prize, American Historical Association Honorable Mention for the 2014 Wayne S. Vucinich Book Prize, Association for Slavic, East European, and Eurasian Studies Special Mention for the 2014 F. X. Salda Prize, Institute for Czech Literature of the Czech Academy of Sciences One of Financial Times (FT.com) Best History Books of 2013 "[A] pleasure to read, luscious in a sultry kind of way."--Marci Shore, Times Literary Supplement "[A] captivating portrait of 20th-century Prague... The breadth of Sayer's knowledge is encyclopedic, and those willing to stay the course will be rewarded."--Publishers Weekly "[T]his is a broad cultural history ... with Sayer ranging easily across the arts... [C]ontinually illuminating."--Andrew Mead, Architectural Review "[Readers] will likely find themselves delighted by Sayer's erudition as he reintroduces dozens of figures, many long forgotten or scarcely known to non-Czechs, into our understanding of twentieth-century cultural history."--Brendan Driscoll, Booklist "A real page-turner that leads the reader through all possible facets of Modernism in Prague, starting with Breton's and Eluard visit to the city in 1935 and ending with the crashing of all modern and Surrealist legacy by the Communist regime in the 1940s and 50s. At the same time, Sayer's book pays also great attention to previous periods while putting also a strong emphasis on the many efforts, from the Prague Spring till today's resistance to Prague's Macdonalization, to recover the revolutionary power and intuitions of the past, in the field of art but as well as in that of daily life... [A] fabulously good read... Derek Sayer stands already out as one of the most convincing representatives of how to rethink our cultural past today."--Jan Baetens, Leonardo "Prague, Capital of the Twentieth Century is an erudite, comprehensive, well-illustrated and witty account of Czech art, design, architecture, literature and music in an era--stretching roughly from Czechoslovakia's creation in 1918 to the end of the second world war--when few in Paris, Berlin, London or even New York would have thought of the Czechs as not being part of western civilisation... [I]n this book [Sayer] has succeeded in bringing back to life a golden avant-garde era that not long ago was in danger of being written out of history altogether."--Tony Barber, Financial Times "Sayer has written a cultural history chockablock with artists, modernist architecture, manifestos, dark comedies, and broken alliances... It will be valued by those interested in European cultural history during the twentieth century and how modern art was colored by the horrors of the political landscape."--Karen Ackland, ForeWord Reviews "[T]he book ... offers an insight into often quite extraordinary life stories connected with Prague as well as their international context."--Marta Filipova, Times Higher Education "Sayer is a master of his sources: he looks back on a past still within reach, receding from us; he tracks down its threads, from liaison to liaison, from city to city. Can a research professor ever have written a book quite so triumphantly eccentric and persuaded a major academic press to publish it so splendidly?"--Nicolas Rothwell, Australian "Through both the breadth and depth of his knowledge, Sayer will reward the patient reader; in the surrealist fashion, he focuses on the seemingly mundane details to provide a true biography of Prague."--Kelsey Berry Philpot, Library Journal "In this erudite, witty and well-illustrated book, Sayer restores Czech avant-garde art between the two world wars to its rightful position at the heart of European culture. A worthy successor to Sayer's much-praised The Coasts of Bohemia."--Financial Times, "Books of the Year So Far" Summer Reading Guide "A thoroughly engrossing book."--Jim Burns, Northern Review of Books "Prague, Capital of the Twentieth Century is a thoroughly engrossing book... What [Sayer] says makes me wish I'd read a book like his before I went there all those years ago. I think I would have looked around the city with a greater awareness of its qualities."--Jim Burns, Northern Review of Books "This is a remarkable, unusual and fascinating book... [T]he book brings together fantastic material from history, literature, art, politics, architecture and poetry, giving the readers an incredibly rich and diverse picture of modern Prague."--Michael Lowy, Debatte "Sixty-two well-chosen illustrations, detailed descriptions, and many extended quotations from sources greatly enliven the book and make the author's argument convincing."--Choice "[A] fascinating, forgotten, cultural history."--Diane Coyle, Enlightened Economist "A masterful and unforgettable account of a city where an idling flaneur could just as easily be a secret policeman, this book vividly shows why Prague can teach us so much about the twentieth century and what made us who we are."--Czech Literature Portal "Prague is not, strictly speaking, travel writing but it is, among other things, an excellent example of what travel writing is becoming, if indeed it hasn't already done so... People are no longer so easily satisfied by the mere travel impressions of some outsider much like themselves. Instead they gravitate towards writers who actually have lived not simply in, but inside, a location for an extended period, as one lives inside one's clothes."--George Fetherling, Diplomat and International Canada "Derek Sayer's meandering derive through the hall of mirrors of 20th-century European history may prove taxing to the scholar who expects a clearly signposted route, but exhilarating to the intellectual flaneur... Sayer has an admirable eye for (sometimes excruciating) detail; coupled with occasional glimmers of wry humour, this produces an intimate and absorbing experience while slowly, unobtrusively deconstructing the reader's understanding of history... His Prague is woven around the reader slowly and silently, page by page, until we cannot help but be made aware of the final image--neither beautiful nor ugly, but undeniably real."--Esther Galfalvi, Gorse "This is a beautiful, erudite, fascinating ... book. Densely researched and resolutely nonlinear, it demands the reader's commitment."--Andrea Orzoff, Austrian Studies Newsmagazine "Sayer covers much ground in this informative and well-illustrated book and its scope is much larger than the title would suggest... Sayer presents a book that is thoroughly researched, highly informative and covers a range of Prague-related topics. It is recommended for postgraduate students, researchers and scholars with an interest in the history of arts, urban history and the cultural history of inter-war Czechoslovakia in particular."--Andrea Talaber, European Review of History "Sayer's intimate knowledge of the writers he quotes, his vast erudition and fondness for the various aspects of Prague's history and topography make this book a joy to read. It will appeal to intellectual and cultural historians interested in the overlapping of modernism and modernity as well as those looking for new ways to write about history and place, but it will surely also attract a broader readership."--Claire Morelon, Social History "Let's hope that the accolades Sayer's book is receiving will help redraw the existing maps of European twentieth-century culture and place Prague not in the political East, but in its centre."--Veronika Ambros, Canadian Slavonic Papers "Beautiful, erudite, fascinating."--Andrea Orfozz, Austrian Studies Newsmagazine "A remarkable, unusual and fascinating book."--Michael Lowy, Debatte Journal of Contemporary Central and Eastern EuropeTable of ContentsList of Illustrations xi Acknowledgments xv Translation and Pronunciation xix Introduction 1 *1 The Starry Castle Opens 13 *The Surrealist Situation of the Object 13 *A Choice of Abdications 22 2 Zone 33 * Le passant de Prague 33 *This Little Mother Has Claws 44 *The Time of Ardent Reason 52 *The Hangman and the Poet 63 *Tongues Come to Life 69 3 Metamorphoses 79 *The Origin of Robots 79 *A Beautiful Garden Next Door to History 90 *Suicide Lane 99 *Franz Kafka's Dream 114 *Do You Speak German? Are You a Jew? 122 *Fantasy Land. Entry 1 Crown 130 *The Precious Legacy 137 4 Modernism in the Plural 144*Alfons Mucha, Steel and Concrete 144 *The Ghosts of Futures Past 156 *From the Window of the Grand Cafe Orient 170 *Granny's Valley 183 *The Electric Century 197 *All the Beauties of the World 210 5 Body Politic 221 *The Silent Woman 221 *The Poetry of Future Memories 231 *Renaissance Ballet 242 *Beautiful Ideas That Kill 251 *Sexual Nocturne 261 *Cut with a Kitchen Knife 270 *A War Economy, Words of Command, and Gas 280 6 On the Edge of an Abyss 288*The Beautiful Gardener 288 *The Bride Stripped Bare 298 *Gulping for Air and Violence 304 *Orders of Things 312 * L'origine du monde 324 *Dreams of Venus 331 *A Girl with a Baton 344 7 Love's Boat Shattered against Everyday Life 356*A National Tragedy with Pretty Legs 356 *The Poet Assassinated 364 *A Wall as Thick as Eternity 374 *Didier Desroches 387 *Am I Not Right, Jan Hus? 399 *Messalina's Shoulder in the Gaslight 409 *That Familiar White Darkness 419 8 The Gold of Time 426 *The Necromancer's Junk Room 426 *The Prague-Paris Telephone 433 *The Dancing House 439 Notes 445 Bibliography 529 Index 561

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Book SynopsisThis lavishly illustrated volume is the first major global history of ornament from the Middle Ages to today. Crossing historical and geographical boundaries in unprecedented ways and considering the role of ornament in both art and architecture, Histories of Ornament offers a nuanced examination that integrates medieval, Renaissance, baroque, andTrade Review"After its famous denunciation by Adolf Loos, ornament seemed a wasteful frivolity to most architects and designers. But that attitude has lost steam in recent years, as firms derive much of their revenue by building in places with a healthier regard for pattern and decoration. Right at the outset, this scholarly tome firmly establishes the vitality of architectural ornament today, leaving readers to peruse premodern histories after having shed their Loosian prejudice."--Metropolis "[A] handsome book."--Peter Parker, A Magazine for RIBA Friends of Architecture "[An] important volume ... seamlessly edited by Necipo?lu and Payne, [the book] covers an unprecedented and stringent collection of scholarly research and reflection. It is not a history of ornament per se, but rather a rigorous and sometimes cautionary record of the history of ornament's shifting meaning and theoretical basis. This volume assesses ornament as a legitimate aspect of designing the future built environment. It is neither elegy nor encyclopedia; the purpose instead is summed up simply in the editors' introduction as 'to address what ornament does [and did].' The result is a summons to surrender preconceived notions about ornament as somehow apart from or inferior to architecture in its full range of possible expression."--Paul Gunther, Architect's Newspaper "An exceptionally stimulating ... collection of essays on a topic that is certain to be of increasing importance to our discipline."--Kathleen James-Chakraborty, Journal of the Society of Architectural HistoriansTable of ContentsIntroduction 1 Gulru Necipoglu and Alina Payne Part I Contemporaneity of Ornament in Architecture Chapter 1 Ornament and Its Users: From the Vitruvian Tradition to the Digital Age 10 Antoine Picon Chapter 2 A Natural History of Ornament 20 Vittoria Di Palma Chapter 3 Inscription: On the Surface of Exchange between Writing, Ornament, and Tectonic in Contemporary Architecture 34 Hashim Sarkis Part II Ornament between Historiography and Theory Chapter 4 Ornament as Weapon: Ballistics, Politics, and Architectural Adornment in Semper's Treatise on Ancient Projectiles 46 Spyros Papapetros Chapter 5 The Passage of the Other: Elements for a Redefinition of Ornament 62 Jonathan Hay Chapter 6 The Invention of Mudejar Art and the Viceregal Aesthetic Paradox: Notes on the Reception of Iberian Ornament in New Spain 70 Maria Judith Feliciano Chapter 7 The Flaw in the Carpet: Disjunctive Continuities and Riegl's Arabesque 82 Finbarr Barry Flood Part III Medieval Mediations Chapter 8 Vesting Walls, Displaying Structure, Crossing Cultures: Transmedial and Transmaterial Dynamics of Ornament 96 Gerhard Wolf Chapter 9 Gothic-Framed Byzantine Icons: Italianate Ornament in the Levant during the Late Middle Ages 106 Michele Bacci Chapter 10 Timurid Architectural Revetment in Central Asia, 1370-1430: The Mimeticism of Mosaic Faience 116 David J. Roxburgh Part IV Early Modern Crosscurrents Chapter 11 Early Modern Floral: The Agency of Ornament in Ottoman and Safavid Visual Cultures 132 Gulru Necipoglu Chapter 12 Ornamental Defacement and Protestant Iconoclasm 156 Christopher P. Heuer Chapter 13 Migration of Techniques: Inlaid Marble Floral Decoration in Baroque Naples 166 Daniela del Pesco Chapter 14 Innovation, Appropriation, and Representation: Mughal Architectural Ornament in the Eighteenth Century 178 Chanchal Dadlani Part V Ornament between Figuration and Abstraction Chapter 15 Ornament, Form, and Vision in Ceramics from Medieval Iran: Reflections of the Human Image 192 Oya Pancaroglu Chapter 16 Variety and Metamorphosis: Form and Meaning in the Ornament of Amico Aspertini 204 Marzia Faietti Chapter 17 Images as Objects: The Problem of Figural Ornament in Eighteenth-Century France 216 David Pullins Chapter 18 Ornament and Vice: The Foreign, the Mobile, and the Cocharelli Fragments 228 Anne Dunlop Chapter 19 Gilded Bodies and Brilliant Walls: Ornament in America before and after the European Conquest 238 Thomas B. F. Cummins Part VI Circulations and Translations of Ornament Chapter 20 The Poetics of Portability 250 Avinoam Shalem Chapter 21 "This Is Babel": Sicily, the Mediterranean Islands, and Southern Italy (1450-1550) 262 Marco Rosario Nobile Chapter 22 Wrapped in Fabric: Florentine Facades, Mediterranean Textiles, and A-TectonicOrnament in the Renaissance 274 Alina Payne Chapter 23 Threads of Ornament in the Style World of the Fifteenth and Sixteenth Centuries 290 Anna Contadini Part VII Internationalism of Ornament and Modernist Abstraction Chapter 24 The Currency of Ornament: Machine-Lathed Anticounterfeiting Patterns and the Portability of Value 308 Jennifer L. Roberts Chapter 25 Grammars of Ornament: Dematerialization and Embodiment from Owen Jones to Paul Klee 320 Remi Labrusse Chapter 26 Sober Ornament: Materiality and Luxury in German Modern Architecture and Design 334 Robin Schuldenfrei Acknowledgments 349 Notes 351 Bibliography 411 Contributors 443 Index 445 Photo Credits 453

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Book SynopsisTrade Review"Larissa Buchholz has written a magnificent account of the Global art market over the last half century. The book combines extensive, and highly nuanced, discussion of a wide range of relevant cultural theories, with an enormous amount of wonderfully researched data and studies of the Global art market and the relevant personnel including artists, curators, gallerists, art critics, art purchasers, and museum personnel. As a result, the book is an empirical and theoretical treasure."---David Halle, Social Forces"An amazingly rich study, with a high level of density, complexity, and nuance, a reference book for now and future generations."---Kitty Zijlmans, 21: Inquiries into Art, History, and the Visual

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Book SynopsisTrade Review"Finalist for the 2018 Alfred H. Barr Jr. Book Award, College Art Association""Impressive."---Karen Levenback, Virginia Woolf MiscellanyTable of ContentsForeword 7 David R. Brigham Introduction 11 Robert Cozzolino, Anne classen Knutson, and David M. Lubin America's "Forgotten War" and the Long Twentieth Century 19 David Reynolds Lies That Tell the Truth: American Artists in the Crucible of War 31 David M. Lubin Citizen-Consumers in the American Iconosphere during World War I 45 Pearl James Hidden in Plain Sight: World War I in the Art of John Marin, Georgia O'Keeffe, and Charles Burchfield 57 Anne Classen Knutson For the Privilege of Dying: The Crisis Takes On the War 73 Amy Helene Kirschke Battle over Sight: The Aerial Photographer and the Camoufleur 87 Jason Weems Burchfield's Armistice: Voice, Dissent, Painting 101 Alexander Nemerov Homecomings, Hauntings, Returns 113 Robert Cozzolino Plates 129 Selected Bibliography 291 Exhibition Checklist 299 Contributors 307 Acknowledgments 309 Lenders to the Exhibition 313 Index 315 Photography credits 319

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Book SynopsisTrade Review"This lavish volume presents a lively tour of the great museum founded by Andrew W. Mellon, taking in its history, architecture, and collections."--Apollo MagazineTable of Contentsxv Continuity and Transformation: The National Gallery of Art at Seventy-Five Earl A. Powell III The First Fifty Years 3 Andrew W. Mellon: Founder and Benefactor 33 A Building of Admirable Grace 53 David Finley and His Cohort 61 First Donors: Kress to Dale 77 The National Gallery's War Record 89 Ailsa and Paul: A New Mellon Era 101 John Walker: Last of the Old Guard 107 J. Carter Brown Launches the East Building Framing the Future 161 The Powell Era 167 The Physical Museum 181 Mission Expanded 203 Corcoran Connection 215 Growing the Collection 231 The Collection Selected acquisitions since 1937 307 Exhibitions Special exhibitions since 1973 350 A Visual Timeline 351 Benefactors, Trustees and Directors, Trustees' Council 356 Acknowledgments and Selected References 360 Index 368 Image Credits

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Book SynopsisTrade Review"One of the The New York Times Best Art Books of 2017, chosen by Holland Cotter""Honorable Mention for the 2018 PROSE Award in Art Exhibitions, Association of American Publishers""In 1948, in a Spanish Harlem apartment, the Beat poet Allen Ginsberg had an auditory hallucination of Blake reciting 'Ah Sun-flower!' and other mind-altering verses. That vision changed Ginsberg’s life, and Blake became a touchstone figure for many radical American artists of the 1950s and his destroy-all-tyrants radar continued to burn through the 1960s. It would certainly find appropriate targets today, as is confirmed by this excellent book, the catalog for an exhibition at the Block Museum of Art, Northwestern University."---Holland Cotter, New York Times"The works of William Blake gradually but conclusively made its way into the poetry of Allen Ginsberg, the principles of Jim Morrison and The Doors, incantations from Van Morrison, and the religious work of Bob Dylan. Indeed, Blake has been everywhere and nowhere at the same time, perhaps just as he would have wanted it to be. William Blake and the Age of Aquarius--a beautiful volume published in conjunction with Northwestern University's Block Museum of Art exhibition of the same name--wonderfully, strikingly, fantastically puts this formidable artist/ poet/ visionary into a logical context. . . . Those familiar with William Blake's work will welcome the considerations of his legacy as seen through visual and auditory art since the mid-20th century through today. Those unfamiliar with Blake should still be fascinated by how the man's work has drifted through the ages without losing much of its power. No reader of this book will come away from it unmoved and indifferent to the potential of the artistic sensibility as it comes to terms with light, dark, and everything in between."---Christopher John Stephens, PopMatters"William Blake and the Age of Aquarius is the most intriguing book on Blake since Marsha Keith Schuchard’s expose of him as a swinger."---Dominic Green, The Spectator"One of the most stunning books of art I have ever seen and read. I highly suggest this book to everyone."---Anna Maria Polidori, Al Femminile"A handsomely designed book . . . including an excellent historical overview."---Albert Rivero, Times Literary Supplement

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Book SynopsisPublished on the occasion of the exhibition Gorey's Worlds, organized by the Wadsworth Atheneum Museum of Art.Trade Review"Marvellous images by Bonnard, Delacroix, Munch and other celebrated artists and photographers are vividly juxtaposed with Gorey’s own drawings, while learned essays explore how his passions for (often surprisingly human) animals and ballet remained a constant presence throughout his career."---Matthew Reisz, Times Higher Education"The title . . . "Gorey’s Worlds" is just right for a project that aims to lay out the genealogy of Gorey’s artistic imagination, by juxtaposing his own work with works from his collection of drawings, prints, photographs, and paintings by some of the artists who were important to him. . . . In the history of the visual and literary arts Gorey’s is a relatively small achievement. But it will endure. Gorey took the exact measure of his imagination. He let it rip—but with the utmost care."---Jed Perl, New York Review of Books

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Book SynopsisTrade Review"Shortlisted for the 2018 DAM Architectural Book Award, Deutsches Architekturmuseum""An excellent book . . . about the desire on the part of nineteenth-century museums to collect reproductions at least as much as originals in order to demonstrate the history of art in as systematic and comprehensive way as possible [and] illustrated with wonderful images of cast collections."---Charles Saumarez Smith"It is timely amid new contexts for preservation and when reproduction technologies are advancing, that Lending’s analysis reveals the significance of their plaster precursors."---Olivia Horsfall Turner, Apollo"This is a marvellous book, an original contribution to our understanding of how plaster casts of sculpture and architectural elements were manufactured and displayed in museums throughout Europe and America, which makes important points concerning their cultural, political, educational and philosophical significance."---James Stevens Curl, Times Higher Education"As Lending argues, the plaster monument was a part of the separation of originals and copies in the nineteenth century, a topic that continues into the twenty-first century. . . . Despite new media, technical methods and intellectual frameworks, the cast monument remains a key part of our cultural context and our interaction with the past."---Matthew Wells, Burlington Magazine"The first history of the rise and fall of architectural casts. . . . Invaluable for students of museum history, not least for its excellent illustrations."---James Hall, The Art Newspaper"There is much to learn from this rich study—how buildings and their representations always form a strange symbiosis, the ways we encounter architecture, and how monuments are always in flux. . . . [The book] is superbly illustrated, including archival documents and evocative photographs of cast galleries as they originally appeared."---Lisa Godson, Journal of Design History"Lending weaves a vast scholarship around the objects at hand. . . . Plaster Monuments must be read cover to cover lest the reader risk missing brilliant insights offered in the most unexpected places."---Can Bilsel, Journal of the Society of Architectural Historians"With impeccable scholarship and a sure sense of narrative, Mari Lending embarks her reader on a fascinating exploration of what these casts, once considered as precious and certainly expensive to produce, represented for their 19th-century sponsors. . . . Starting from an inquiry into a long-lost practice, Plaster Monuments: Architecture and the Power of Reproduction achieves much more than making its reader aware of what once was. It triggers important questions about architecture both as a discipline and as a mediated presence."---Antoine Picon, Architecture Histories"[A] fascinating exploration. . . . Lending’s evocative prose is accompanied by numerous well- chosen illustrations, many previously unpublished. These images, together with her exciting archival discoveries and rich interpretation, make a compelling argument for “the power of reproduction” to shape our understanding of buildings. Plaster Monuments is a welcome reminder that the auratic value of the monument’s absolute originality is as much a fiction as the idea of its unlimited, transparent reproducibility. The book also serves as a timely invitation to consider the contemporary forms of technical mediation without which our own discourses of architectural history and preservation would be unthinkable."---Joseph L. Clarke, Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism

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Book SynopsisThe northern Chinese mountain range of Mount Wutai has been a preeminent site of international pilgrimage for over a millennium. Home to more than one hundred temples, the entire range is considered a Buddhist paradise on earth, and has received visitors ranging from emperors to monastic and lay devotees. Mount Wutai explores how Qing Buddhist ruleTrade Review"Honorable Mention for the Joseph Levenson Pre-1900 Book Prize, Association for Asian Studies""Chou’s study, like the many examples of maps, gazetteers, paintings, murals, sculptures, and temples discussed in her work, continues to shape, guide, and construct our visions of Mount Wutai."---William J. Ma, Religion and the Arts"richly detailed and beautifully illustrated. . . . a major contribution to the growing corpus of studies on Wutai shan."---Natalie Köhle, Journal of Chinese Religions

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Book SynopsisTrade Review"Finalist for the Award for Excellence in the Study of Religion, Historical Studies, American Academy of Religion""Winner of the Jerome E. Singerman Prize, Medieval Academy of America""[Byzantine Intersectionality] quotes Monica Lewinsky in its epigraph and brings an activist’s zeal to its queer-theory close readings of texts and images from the Eastern Roman Empire between the fourth and fifteenth centuries. By scouring legal, medical, and religious sources, and reading misogynist invectives against the grain, Betancourt builds a fascinating picture of more fluid attitudes and practices around sexuality than have been suggested in the mainstream historical record. . . . The details Betancourt excavates can be as illuminating as they are juicy."---Lidija Haas, Harper's Magazine"[Byzantine Intersectionality] raises timely and pressing questions about gender, sexuality, marginalized groups, and diversity in the medieval Roman Empire. . . . This indispensable book makes clear that the study of Byzantine art is relevant and pressing today."---Armin Bergmeier, Art Bulletin"This book is for the outcast and for those who inhabit the margins of the past and present. . . . Byzantine Intersectionality provides art historians, archaeologists, and historians with a better theoretical basis for reconstructing the complex lived reality of queerness, sexual violence, consent, and racial profiling. The marginalized biblical figures and saints examined together serve as a new testament to how engrained systematic oppression functions in society."---Sarah E. Bond, Hyperallergic"[The book’s title] refers to the interaction between gender, sexuality and race, how the intersections between these three separate things were understood in Byzantine society and how these understandings endured or shifted across the period of the Empire’s history from (roughly) the fourth century to the 15th. . . . The book is rooted in a huge number of meticulously studied late antique and medieval sources. Importantly, Betancourt allows them the freedom to speak for themselves."---Adele Curness, History Today"[Byzantine Intersectionality] is an insightful and powerful new addition to not only Medieval Studies, but also History of Art, Critical Race Studies, Gender and Sexuality Studies and Queer Studies. . . . An exciting and radical new project with an ethical dimension and urgency, this text challenges the ways scholars have viewed Byzantine society and culture. . . . [This] innovative text provokes from the epigraph by Lewinsky to the final sentence with its ethical imperative for social and racial justice."---Meaghan Allen, LSE Review of Books"A major accomplishment of [Byzantine Intersectionality] is its interdisciplinarity. As opposed to other scholars of the middle ages whose focus is narrowed to a specific discipline, Betancourt’s text covers the large disciplinary gaps between literary studies, art history, and historical studies, to create a wide-ranging view of the period and allowing scholars to create thematic connections previously unknown across the disciplines. . . . Another important aspect of this text is the potential implications for the field moving forward. Betancourt’s recalibration of the definitions of sexuality, gender, and race has opened countless doors for other medievalists to analyze literature, historical documents, and art for the sole purpose of expanding known histories of sex, gender, and race."---Morgan Connor, Pennsylvania Literary Review"Every Byzantinist needs to read this book. . . . A highly stimulating and thought-provoking book. It is also a beautifully produced book."---Shaun Tougher, Medieval Encounters

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Book SynopsisTrade Review"This book offers extensive evidence concerning van Gogh's interest in the seasons, an important theme for grasping some of the broader symbolic and spiritual associations of his art. Van Gogh and the Seasons is an essential resource for anyone interested in van Gogh, from general admirers to scholars and curators."—Matthew Simms, author of Cézanne's Watercolors

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Book Synopsis"National Portrait Gallery, Smithsonian Institution, Washington, D.C. in association with Princeton University Press, Princeton and Oxford".Trade Review"In the catalog Ms. Naeem gives this form's democratic range a place in the progressive pantheon."---Edward Rothstein, Wall Street Journal"Black Out . . . does the interesting work of considering the history and meaning of the evocative and possibly insidious outlined form. . . . [I]t is the older images that stand out as the most interesting. Less familiar to a majority of readers, the historical context of their creation is particularly rich. . . . In the end, it is the silhouette’s many oppositions and ambiguities that make it so compelling."---Hannah Stamler, Brooklyn Rail"Readers will come away with a refreshed appreciation of silhouettes, both their significance historically but also their influence on today's artists whose art compels viewers to reflect on identity and its portrayal through time."---Nancy B. Turner, Library Journal"The catalogue of a 2018–19 exhibition at the National Portrait Gallery, [Black Out] examines an overlooked art form particularly popular in the first part of the 19th century, before the advent of photography. . . . There are 98 excellent pictures, a few in full color, plus pictures of tracing machines. The catalogue proper includes 49 examples, all carefully described. Including notes to sources with commentaries, this volume should become the standard reference on the subject." * Choice *"Presenting the distinctly American story behind the silhouettes in the exhibition, Black Out vividly delves into the historical roots and contemporary interpretations of this evocative, ever popular form of portraiture."---Peter Bower, British Paper Historians Journal"The book’s strength is that it speaks to the lives of those without power. For this reason, I highly recommend it."---Amy Ione, Leonardo Reviews

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Book Synopsis"This book uncovers a largely overlooked strand of American modernism in Cornell's work that engaged with current issues through the metaphysical aspects of vernacular objects and experiences"--Trade Review"Kwon’s handsomely illustrated book takes a deep dive into the culture that influenced Cornell, and situates him within the art and politics—and politics of art—of his time. . . .[A] beautifully produced book." * Library Journal *"In her book Enchantments . . .[Marci Kwon] gives what amounts to a hidden history of modernism in this country, placing Cornell in context and revealing his connections to his contemporaries and his influence on later generations of artists. She also explores the concept of enchantment and mounts a passionate defense of it."---John Dorfman, Art & Antiques"A superb achievement. . . . [and] the best treatment of the artist’s career, milieu, and work to date."---Massimo Introvigne, Novo Religio

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Book SynopsisTrade Review"[A] unique creative intensity entirely worth revisiting with this latest Delacroix: New and Expanded Edition." * New York Journal of Books *"No cartoon or multi-level digital painting I have seen has reached this level of dramatic intensity." * Pennsylvania Literary Journal *

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Book SynopsisAn innovative application of economic methods to the study of art history, demonstrating that new insights can be uncovered by using quantitative and qualitative methods together, which sheds light on longstanding disciplinary inequitiesTrade Review"Winner of a Millard Meiss Publication Fund Grant, College Art Association""Painting by Numbers…[is] careful and systematic…it is a solid demonstration that “counting things” matters. It leaves audiences to wonder what work the book will inspire as other researchers draw from the quantitative foundation Greenwald has established… [I]t’s clear that the author’s expertise in art and data pair brilliantly” –Lydia Pyne, Hyperallergic""The real power of [Painting by Numbers] is. . . . prompting art historians to ask questions about the values underpinning their definition of their objects of study. . . . [Diana Greenwald] has done a valuable service to the field in asking us to rethink our fundamental categories of disciplinary concern and our responsibilities to the vast range of visual and material culture that might fall within their purview." * CAA Reviews *"Diana Seave Greenwald’s Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art is an ambitious study that synthesizes two disparate approaches of scholarship: art history and economic analysis. . . . Greenwald is a pioneer in the field who is willing to explore new perspectives and challenge past presumptions. The book paves the way for similar interdisciplinary studies to follow. . . . Painting by Numbers shows the promise of what can be achieved when an abundance of information is wedded with insightful scholarship."---Matt Garklavs, ARLIS/NA Reviews"[Diana Greenwald] presents novel evidence on the artistic production of the nineteenth-century in France, the USA, and England and focusses on crucial topics in the art history of that period, namely, industrialization, gender, and the history of empire, providing new points of view. . . . [Painting by Numbers] represents a concrete application of the benefits of an interdisciplinary approach in humanities and social sciences."---Laura Paganl, Journal of Cultural Economics"[A] great benefit to art historians unpracticed in economic theory."---Elizabeth L. Block, Panorama"Painting By Numbers offers methods and interpretations that may revise art historians’ assumptions about what we do and how we do it."---Julie Codell, Winterthur Portfolio"Using hard, quantitative data in order to test, critique or support conventional wisdom is very unusual in art-historical research. Painting by Numbers succeeds in making a convincing case for that kind of study, which makes it a model of methodological innovation, and a very welcome one."---Jorge Sebastián Lozano, Art History

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Book SynopsisTrade Review"A Choice Outstanding Academic Title in Fine Arts""One cannot help admiring how, through her own fertile processes of thought and analogy, Geddes mirrors the astonishing liveliness of Leonardo’s creative imagination."---Francis Ames-Lewis, Burlington Magazine"Compelling. . . . an exciting addition to the new field of the environmental humanities." * Choice *"A timely invitation to a close reading of Leonardo’s drawings, not as a purely artistic medium but also as a versatile means of engaging with nature."---Anatole Tchikine, Renaissance Quarterly

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Book SynopsisTrade Review"Shortlisted for the Alice Davis Hitchcock Medallion, Society of Architectural Historians of Great Britain""Winner of the Historians of British Art Book Prize, Contemporary Subject""[A] brilliant new history. . . . A highly convincing book, with the sort of clarity and panoramic scope that is too often, in books on this subject, lost in architectural and decorative minutiae."---Owen Hatherley, Tribune Magazine"Elegantly written. . . . [A] timely contribution."---Alistair Fair, Architectural History"An academic modernist sees opportunity in disruption."---John Gapper, Financial Times"[A] scintillating and thoroughly engaging book, which rightly urges us to pay closer attention to the built environment in our understanding of how modern Britain came to be."---Phil Child, Journal of Contemporary History"Foundations is a fascinating contribution . . . illuminating fluently and engagingly the still-hidden history of the mundane spaces that Britons have inherited, many of which they continue to inhabit."---Simon Gunn, Journal of British Studies"An excellent book. It is deeply researched, thoughtfully argued, and beautifully written."---Erika Hanna, American Historical Review

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Book SynopsisTrade Review"[Hardie’s] engagement with early modern British literature and art is impressive. Scholarly yet approachable."---P. E. Ojennus, Choice "A sublime intellectual journey that holds appeal to a wide range of audiences"---Bobby Xinyue, Times Literary Supplement"Impressively learned."---Tobias Gregory, London Review of Books

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Book SynopsisVolume 2 of 2. Lorenzo Ghiberti, sculptor and towering figure of the Renaissance, was the creator of the celebrated Bronze Doors of the Baptistery at Florence, a work that occupied him for twenty years and became known (at Michelangelo's suggestion, according to tradition) as the Doors of Paradise. Here Richard Krautheimer takes what Charles S. Sey

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Book SynopsisVolume 2 of 2. Lorenzo Ghiberti, sculptor and towering figure of the Renaissance, was the creator of the celebrated Bronze Doors of the Baptistery at Florence, a work that occupied him for twenty years and became known (at Michelangelo's suggestion, according to tradition) as the Doors of Paradise. Here Richard Krautheimer takes what Charles S. Sey

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Book SynopsisTrade Review"With copious photos, the book The Obama Portraits details the creation of the paintings while delving into the significance of their unprecedented popularity."---Reagan Upshaw, Washington Post"Attendance at the Smithsonian’s National Portrait Gallery in Washington, D.C. has more than doubled since the unveiling of Barack and Michelle Obama’s official portraits in early 2018. A new book, The Obama Portraits . . . sheds new light on the creation and impact of these artworks, including exclusive photographs of the Obamas during their sittings."---Elizabeth Winker, Wall Street Journal"This is an undeniably exciting new release, full of behind-the-scenes photographs, interviews with the artists, and more."---Leah B, Powell’s Book Blog"The director, Kim Sajet, describes this success as the product of ‘a perfect storm’. It owes much, she says, to the quality of the paintings themselves – Sajet calls them ‘extraordinary’, and it’s true that they don’t look the way you expect official portraits to look – but she also thinks that our approach to the medium has changed."---Kim Sajet & Cal Revely-Calder, The Telegraph"It’s rare for a painting to be the subject of international headlines. But this was the case for the pair of portraits that Kehinde Wiley and Amy Sherald made of President Barack Obama and First Lady Michelle Obama, which made waves around the world. Now, two years after the frenzy, the museum is taking stock of the artworks’ impact with a new book published by Princeton University Press. The Obama Portraits . . . retraces the portraits’ journeys, from behind-the-scenes looks at Wiley and Sherald in their studios, to the much-publicized unveiling, and finally to the burst of popular attention and interest that followed."---Taylor Dafoe, Artnet"We’re never supposed to judge a book by its cover, but I just bought a book for its jacket. I’m a lifelong bibliophile who should know better, but it might be the most beautiful jacket I’ve ever seen. The book that came with it is The Obama Portraits . . . [n]either mammoth coffee-table decoration, nor academic tome, it has a lot of handsome art images, some interesting photos, and a transcript of the 2018 unveiling ceremony. I’ll probably even read it."---Deanna Isaacs, Chicago Reader"The beauty of this book grabs readers before they even read a single word. In addition to having a removable and reversible cover that allows the reader to have either Mr. or Mrs. Obama’s portrait on the face, this book contains other presidential portraits, such as John F. Kennedy, George W. Bush, and Abraham Lincoln from the National Portrait Gallery. It also highlights other lush artwork, which the Obamas added to the White House collection . . . [T]his vibrant volume can easily be added to your coffee table to impress guests or simply to provide a sense of visual calm during this current national and international storm."---Celeste Doaks, BmoreArt.com"Unearthing the stories behind the Obamas’ most famous portraits, this book is full of wonderful anecdotes as well as being an absolute beauty to behold. The cover jacket is also reversible so you can choose which one to show off. It’s an insightful commentary on the famous political family and their impact on the world of art." * Spell Magazine *

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Book SynopsisTrade Review"Winner of the Alice Davis Hitchcock Medallion, Society of Architectural Historians of Great Britain""[Baudez’s] meticulous, methodical study will likely appeal more to scholars than to the general public, but no matter the audience, this extensively researched, richly illustrated book sheds new light on this overlooked aspect of architectural history and practice."---Lauren Moya Ford, Hyperallergic"This richly illustrated, fascinating study of the nature of architectural drawing, and the conventions that have underlain it through time, is essential reading for those interested in buildings."---Benjamin Riley, New Criterion"A splendidly illustrated and deeply researched monograph. . . . The extraordinary value of Baudez’s research and publication lies precisely in its vast range, the prolixity of its all-colour illustrations and archival references, that allow the reader to examine the evidence and parse the interpretations, and that opens up a historical examination of manual representation in an age when its overcoming by digital techniques has rendered it all but obsolete."---Anthony Vidler, Drawing Matter"Basile Baudez offers a riveting reading of architectural representations. By considering them over a long period and a wide geographic terrain, he offers a clear and erudite synthesis. Remarkably high-quality, renewed illustrations support this elegant study."---Alexia Lebeurre, CAA Reviews"A significant contribution to understanding the development of color drafting methodologies and their influences on architectural history."---Paul Emmons and Negar Goljan, Montreal Architectural Review"[Inessential Colors] differs from previous publications on this subject, which tend to focus more on polychromy in representations of buildings already in existence. A chapter on the materials and tools of the architect or drafter add much to the content." * Choice *"In Inessential Colors, Basile Baudez argues that the colors in architectural drawings serve three purposes: to imitate the world, to act as conventional signs for building materials and functions, and to move and delight—to affect—the viewer. . . . For anyone interested in the history and technique of architectural drawings, Basile Baudez’s very readable and beautifully illustrated book, which includes a detailed appendix titled 'The Draftsman’s Tools,' is highly recommended."---Martin Olin, Journal of the Society of Architectural Historians"This volume is a highly original and stimulating study of paper-based material culture. With an impressive sweep across forms, media, and cultural-geographic, boundaries, it does what we expect the best object-based scholarship to do. It helps us understand why an artifact of the past looks the way it does, and how that contributes to its meaning in its own society. . . . Inessential Colors’s strength lies in the novelty of its approach, the breadth of original works consulted, and the attentive examination of each one."---Claudia Funke, Papers of the Bibliographical Society of America"The increasing complexity of building in combination with the urgent need to tackle the climate crisis challenges the traditional role of the architect as designer and asks us to reconsider what matters most in the built environment. At the same time, architecture today too exists in the maelstrom of digital images produced by humans and nonhumans alike sometimes at a considerable distance from actual buildings. Studies like Baudez’s book enrich this conversation by complicating our understanding of such omnipresent artifacts as colored representations of buildings, but also by reminding us that architecture and its image have always played multiple and sometimes contradictory roles."---Maarten Delbeke, H-Net Reviews"This impressive, thought-provoking book focuses on early modern presentation drawings of buildings . . . [asking] what the use of colour, or the absence of it, can tell us about the way architects communicated with patrons and the public. Wide-ranging in its coverage . . . the author demonstrates an extraordinarily broad command of early modern architecture in its different national settings."---Simon Pepper, Architectural History

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Book SynopsisTrade Review"A Choice Outstanding Academic Title of the Year"

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Book SynopsisTrade Review"A lavishly illustrated book of rare works." * ArtDaily *"[A] fascinating, richly illustrated companion book."---Barrymore Laurence Scherer, Wall Street Journal"This catalogue provides an excellent overview of the golden age of aquatint in the era of revolution and Romanticism."---Alexander Adams, The Jackdaw

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Book SynopsisTrade Review"An Apollo Book of the Year""A tour de force analysis."---Yve-Alain Bois, Artforum"A splendidly expansive work that successfully unites material with metaphor. Beautifully illustrated and playful in tone, this book should be celebrated for its originality and, above all, as an invitation to ever closer looking."---Imogen Tedbury, Apollo Magazine"Groundwork fuses traditional formal analysis of a superior and detailed order with a provocative discussion of how the various meanings of “ground” . . . are a critical determinant of the painting’s spatial order and meaning." * Choice *"David Young Kim takes familiar paintings (Bellini’s Saint Francis in the Desert; Caravaggio’s Supper at Emmaus) and surprises us with new ways of looking at them. Combining intellectual ingenuity with close-looking, the book defines ‘ground’ in three ways and works out the consequences of doing so in a manner that owes as much to historical treatises as to technical study." * Apollo Magazine *"Clever and erudite…. David Young Kim invites his reader into the deeper recesses of Renaissance art-making and provides profound multilayered insights into an oft-neglected subject. The book is an intellectual tour de force. - Elizabeth Lisot-Nelson, Comptes Rendus"

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Book SynopsisTrade Review"Historically marginalized scholars will particularly find [The Grant Writing Guide] indispensable; they will relish reading the comforting prose of Lai, who lucidly explains how to get an edge on the competitive genre of funding. . . . The book promises—and delivers—on keeping the reader abreast with all the technical details of funding. It provides the novice with a blueprint for navigating the complex funding process with vigor and rigor."---Abdulrahman Bindamnan, Journal of the American Academy of Child & Adolescent Psychiatry

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Book SynopsisTrade Review"An extraordinary selection of over 120 works reveals the splits, juxtapositions, reflections, and multiplications deployed by modern and contemporary artists to explore sameness and difference, the original and the copy, the self and the other."---Rachel Vogel, CAA.Reviews"An elegant exhibition catalogue. . . . The Double remind[s] us vividly that virtually all art is inherently a self-reflection of its maker and a mirror of the times in which it was made."---Donald Brackett, Critics at Large

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Book SynopsisTrade Review"Winner of the Historians of British Art Book Prize, 1600-1800""Winner of the Mr. and Mrs. Raymond J. Horowitz Book Prize, Bard Graduate Center""Honorable Mention for the William Sanders Scarborough Prize, Modern Language Association""A Choice Outstanding Academic Title of the Year""Published in 1788, the famous engraving of the human cargo of a slave ship was used widely by campaigners for the abolition of slavery. Finley looks at the dissemination of the image in the 18th century and its ongoing political and artistic resonances." * Apollo *"[Committed to Memory] wonderfully shows how the ship travelled from its 18th-century departure port of protest to multiple destinations – prison reform movements, anti-capitalist campaigns, resistance to racial and sexual discrimination, and refugee advocacy."---Catherine Molineux, Times Higher Education"[B]eautifully illustrated and brilliantly conceived . . . [t]his book not only constitutes an innovative, gripping and convincing approach to the narrative of slavery, but it also succeeds in anchoring its heritage in the present moment and casting light on contemporary 'passages.'"---Hélène B. Ducros, EuropeNow"[Committed to Memory is] a politically attuned chronicling of slave ship representations from the late 18th to present century. . . . Finley has broken new ground in the discipline of art history . . . [a] valuable, clearly-written, well-researched, global aesthetic history of artistic protest, and explicitly black art."---Devon Epiphany Clifton, Make Literary Magazine

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Book SynopsisTrade Review"Larissa Buchholz has written a magnificent account of the Global art market over the last half century. The book combines extensive, and highly nuanced, discussion of a wide range of relevant cultural theories, with an enormous amount of wonderfully researched data and studies of the Global art market and the relevant personnel including artists, curators, gallerists, art critics, art purchasers, and museum personnel. As a result, the book is an empirical and theoretical treasure."---David Halle, Social Forces"An amazingly rich study, with a high level of density, complexity, and nuance, a reference book for now and future generations."---Kitty Zijlmans, 21: Inquiries into Art, History, and the Visual

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Book SynopsisTrade Review"It is Walpole the man who fascinates Mr. Lewis and who, when Mr. Lewis is done, fascinates us." * New Yorker *

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Book SynopsisTrade Review"A major contribution to the history of Christianity and Europe." * Choice *"Grabar considers his material with a wisdom and good sense all his own."---John Beckwith, Apollo"Packed with the observant scholarship for which the author has long been famous."---Cornelius C. Vermeule III, Classical World

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Book SynopsisTrade Review"[Cecil] does more for both painters than simply recount their lives. He presents both the visionary and dreamer in the bright and captivating light of his own sympathy." * The Observer *

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Book SynopsisTrade Review"Winner of the Charles Rufus Morey Award, College Art Association""One of Choice's Outstanding Academic Titles for 1993""In guiding our concentrated attention to the action that unfolds in [a group of paintings by Raphael, Michelangelo, Pontormo, and others that represent the Entombment], the author has taught us to make the relevant connections and thus to see these deeply moving works with fresh eyes."---E. H. Gombrich, New York Review of Books"Shearman's six lectures contribute significantly to current debates about the interpretation of images, particularly in relation to their reception by the spectators."---Martin Kemp, Times Literary Supplement"As the author of a brilliant work on Mannerism, in which literature and music were employed to explain characteristic forms, Shearman is eminently qualified for his task. [He] weaves a brilliant account of poetry and painting immortalising the sitter."---Bruce Boucher, The Times"[Shearman's] argument that the observer, in the artist's mind, was as carefully placed, posed and arranged as the content of the work is sustained by considerable intelligence and scholarship."---Robin Blake, Independent on Sunday

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Book SynopsisTrade Review"It is impossible to approach this profoundly stimulating book by Oleg Grabar without reflecting on the strange twists of fate that the discourse of ornament has undergone in the last two centuries. . . . Oleg Grabar takes up anew the challenge of using ornament to broach artistic questions."---Margaret Olin, Art Bulletin"This is writing that not only rewards but requires rereading. . . . If The Formation of Islamic Art was the most provocative and generously conceived book on its subject in the '70s, The Mediation of Ornament, with its expanded frame of reference and sense of personal urgency, may well assume that status for the '90s."---Holland Cotter, Art in America"In a real sense the book is a mediation, the Platonic daemon, between ornament and the reader. . . . When language has to be invented or defined to fulfill a specific need, as here, it is a sign that new concepts are being proposed by the author."---Sylvia Auld, Art History"With perhaps Socratic irony, Grabar maneuvers between ideology and mere decoration by divining in ornament a mediating function in a world troubled by doubt. Grabar believes that ornament constitutes a ‘discourse on love.’ His book, written with a kindly wit, and a keen intelligence, is beautifully illustrated, and itself illustrates the role of ornament in the world." * Bostonia *"Grabar seeks to understand the transmission of meaning from visual form to interpretation: what is it that mediates between the physical object and a viewer's understanding? He postulates that in Islamic art it is writing, geometry and (images of) architecture and nature, which together constitute ornament. . . . An honest statement of one scholar's personal intellectual journey." * Mesa Bulletin *"An admirable treatise . . . it offers its readers an exemplary interplay of art history and aesthetics. One receives a beautifully illustrated introduction to Islamic art, and each work earns its presence by serving to bring a theoretical issue to life. This is cross-fertilization at its very best." * Journal of Aesthetics and Art *

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