History of art Books
Oxford University Press Early Medieval Architecture
Book SynopsisThe early middle ages were an exciting period in the history of European architecture, culminating in the development of the Romanesque style. Major architectural innovations were made during this time including the medieval castle, the church spire, and the monastic cloister. By avoiding the traditional emphasis on chronological development, Roger Stalley provides a radically new approach to the subject, exploring issues and themes rather than sequences and dates. In addition to analysing the language of the Romanesque, the book examines the engineering achievements of the builders, and clearly how the great monuments of the age were designed and constructed. Ranging from Gotland to Apulia, the richness and variety of European architecture is explored in terms of the social and religious aspirations of the time. Symbolic meanings associated with architecture are also thoroughly investigated. Written with style and humour, the lively text includes many quotations from ancient sources, providing a fascinating insight into the way that medieval buildings were created, and in the process enlivening study of this period.Table of ContentsIntroduction ; 1. The Christian basilica ; 2. The Carolingian renaissance ; 3. Symbolic buildings ; 4. Architecture and pilgrimage ; 5. Architecture and monasticism ; 6. Diversity in the Romanesque era ; 7. The language of architecture ; 8. Secular architecture in the age of feudalism ; 9. Art and engineering ; 10. Patron and Builder ; Epilogue: the shadow of Rome ; Notes; List of Illustrations; Bibliographic Essay; Timeline; Index
£21.14
Dover Publications Inc. The Art Nouveau Style Book of Alphonse Mucha
Book SynopsisRare design portfolio by high priest of Art Nouveau. Jewelry, wallpaper, stained glass, furniture; figure studies; plant and animal motifs, much more. All 72 stunning plates from Documents DÃcoratifs in original color.
£15.29
Taylor & Francis The Le Corbusier Galaxy
Book SynopsisDrawing on the authorâs discovery of an unknown, long-forgotten collection of photographs in an Indian ashram, this book offers an exciting, new view of the international community of young architects who served as Le Corbusierâs assistants in the inter-war years. A collection of some 500 snapshots, assembled by the Czech architect FrantiÅek Sammer between 1931 and 1939, had been stored unnoticed for more than 70 years in an unlikely location â the Sri Aurobindo Ashram in Pondicherry, India. Sammer was one of Le Corbusierâs closest assistants from the early 1930s. Later, Sammer worked in the Soviet Union, Japan and India. During, and after, his time in Paris, he personally took or collected these photographs, which he then deposited at the ashram when he left to fight in World War II. The images offer a remarkable view of the international community of people who worked in Le Corbusierâs atelier in the 1930s. Among those featured in the photographs are Charlotte Perriand, Pie
£37.99
Thames & Hudson Ltd Louise Nevelson Art is Life
Book SynopsisLouise Nevelson (1899-1988) was, with Calder, Noguchi and David Smith, one of the great American sculptors of the 20th century. She created extraordinary work, from room-size installations composed of boxes to gnarled and majestic steel structures. This book tells her life story.Table of Contents1. Russian Roots 1899–1905 • 2. Rockland Childhood 1906–1919 • 3. Marriage and Motherhood 1920–1925 • 4. Art at Last 1929–1934 • 5. The Beginning of Sculpture 1934–1940 • 6. Surrealism 1940–1946 • 7. Death and Reparation 1946–1953 • 8. A Forgotten Village 1954–1957 • 9. Moon Garden Breakthrough 1958–1960 • 10. Glittering Glory 1960–1962 • 11. Icarus 1962–1963 • 12. Architect of Reflection 1964– 1965 • 13. Empress of the Environment 1966–1968 • 14. Mistress of Transformation 1969–1971 • 15. La Signora of Spring Street 1972–1974 • 16. Large Scale 1975–1976 • 17. “The Nevelson” 1967–1988 • 18. The Chapel and the Palace 1978–1979 • 19. A Big Birthday 1980–1985 • 20. The End 1986–1988
£21.21
Thames & Hudson Ltd 7 Reece Mews Francis Bacons Studio
Book Synopsis7 Reece Mews, South Kensington, was the artist Francis Bacon's home and studio for over 30 years. On his death in 1992, access was granted to photographer Perry Ogden to work undisturbed for days on end to produce this fascinating record of the artist's private space and its contents.Trade Review'Stunning' - Condé Nast Traveller'Extraordinary' - Image
£17.00
Thames & Hudson Ltd British Prints from the Machine Age
Book SynopsisAccompanying the exhibition at the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, this catalogue examines the impact of Futurism and Cubism on British modernist printmaking from the beginning of World War I to the beginning of World War II.Trade Review'Exhilarating' - RA Magazine'A joy to browse' - World of InteriorsTable of ContentsDirector’s Foreword • Preface by Stephen Coppel, British Museum Introduction by Clifford Ackley • 1. World War I • 2. Vorticism and Abstraction • 3. Urban Life/Urban Dynamism • 4. Speed and Movement 5. Sports • 6. Industry and Labour • 7. Entertainment, Music, Leisure • 8. Natural Forces • Appendix: Illustrated essay on technical aspects of linocut technique, by Stephanie Lussier and Rachel Mustalish
£21.21
Cengage Learning, Inc Design Basics
Book SynopsisFilled with hundreds of stunning examples of successful two-dimensional design, this how-to book explains design theory and gives students the tools needed to create successful designs. DESIGN BASICS presents art fundamentals concepts in full two- to four-page spreads, making the text practical and easy for students to refer to while they work.Table of ContentsPart I: DESIGN PRINCIPLES. 1. Design Process. 2. Unity. 3. Emphasis and Focal Point. 4. Scale/Proportion. 5. Balance. 6. Rhythm. Part II: DESIGN ELEMENTS. 7. Line. 8. Shape/Volume. 9. Pattern and Texture. 10. Illusion of Space. 11. Illusion of Motion. 12. Value. 13. Color.
£70.99
Yale Center for British Art Isaac Julien
Book Synopsis
£58.50
Snoeck Publishers From Kalila wa Dimna to La Fontaine
Book Synopsis
£37.35
Schiffer Publishing Ltd Blade
Book SynopsisTrade ReviewBlades infectious and detailed story telling, captured by Chris Pape (Freedom) is really engaging and gives the book an added bit of depth that most graff books fail to deliver. It's what sets this book apart from most others out there and makes the story telling easily jump from one topic to the next. You want to know where some of the ideas for his concepts come from? Its in here. You want to know his fighting style when he was a young dude in high school? Its in here. The book, as you would expect, is crammed full of old train flicks. The well known classics are in here but there is a whole load more of rare flicks from Blade and members of the legendary The Crazy 5. Throughout the book Blade drops some history, giving the reader a lesson in the development of graff and those who were key in developing the scene. The accompanying photos add some context showing the development of graffiti from the early 70s beginning of single hits through to whole car burners. 101 stories later and the book comes to an end with a story of the TC5 get together in a bar and what they are all up to now. A book worth getting your hands on? Definitely. - scottishgraffiti.blogspot.co.uk Oct 2014
£29.59
Afterall Publishing Philip Guston
Book SynopsisAn illustrated examination of Philip Guston's comic and complex painting The Studio.
£15.19
British Museum Press Japanese Art CloseUp
Book SynopsisBeautifully illustrated with an array of Japanese art, this book offers a closer look at the rich variety of styles, decoration, motifs and patterns and the sheer craftsmanship of Japanese culture.
£11.69
British Museum Press Aa a deity from Polynesia Objects in Focus
Book SynopsisSurrendered by Islanders, captured as a trophy in a burst of missionary zeal, then shipped to England to begin a new life as an object of curiosity and fascination - this is the story of a constantly transforming idol.
£6.00
British Museum Press The GayerAnderson Cat
Book SynopsisThe Gayer-Anderson Cat has been one of the most admired objects at the British Museum since its arrival in 1947. This book presents a detailed description of the cat and a discussion of its possible meaning and role in ancient times.
£6.00
British Museum Press The Print Before Photography An introduction to
Book SynopsisA landmark publicationbeautifully illustrated with over 300 prints from the British Museum's renowned collectionwhich traces the history of printmaking from its earliest days until the arrival of photography.
£48.00
Marsilio Luc Tuymans: La Pelle
Book SynopsisLuc Tuymans: La Pelle documents the most ambitious monographic exhibition of the work of Luc Tuymans (born 1958). The Pinault Collection at Palazzo Grassi has in the past mounted exhibitions of the work of Sigmar Polke, Damien Hirst and Urs Fischer in its elegant interiors along the Grand Canal in Venice. It was thus the appropriate venue for this survey of Luc Tuymans' work. Quiet, restrained and at times unsettling, his works engage with questions of history and its representation and with everyday subject matter in an unfamiliar and eerie light. Painted from preexisting imagery, they often appear slightly out-of-focus and sparsely colored, like third-degree abstractions from reality. Whereas earlier works were based on magazine pictures, drawings, television footage and Polaroids, recent source images include material accessed online and the artist’s own iPhone photos, printed out and sometimes rephotographed several times.
£36.00
Getty Trust Publications Fashion in the Middle Ages
Book SynopsisFrom the costly velvets and furs worn by kings to the undyed wools and rough linens of the peasantry, the clothing worn by the various classes in the Middle Ages played an integral role in medieval society. In addition to providing clues to status, profession, and/or geographic origin, textiles were a crucial element in the economies of many countries and cities. Much of what is known about medieval fashion is gleaned from the pages of manuscripts, which serve as a rich source of imagery. This volume provides a detailed look at both the actual fabrics and composition of medieval clothing as well as the period's attitude toward fashion through an exploration of illuminated manuscripts in the collection of the J. Paul Getty Museum. The last portion of the book is dedicated to the depiction of clothing in biblical times and the ancient world as seen through a medieval lens. Throughout, excerpts from literary sources of the period help shed light on the perceived role and function of fashion in daily life.
£15.99
Phaidon Press Ltd Art in Time
Book SynopsisA world history of art styles, schools and movements.Trade Review"Beautifully produced... An absorbing and enlightening gallop through art. The careful balance of digestible chunks of information with beautiful images makes this equally rewarding as a dip-into coffee table book or a cover to cover read."—Royal Academy of Arts Magazine "Like Theseus’s string guiding him the Minotaur’s labyrinth, Art in Time leads the reader through the most important styles, schools and movements from art history, and how each movement built upon its predecessor. Understand how the disobediences of the day impacted on the world of art."—Bridget Arsenault, Vanity Fair "This is a highly informative book, an excellent reference guide."—San Diego Book Review
£38.25
Harvard University Press Working Space
Book SynopsisHere is a rare opportunity to view painting through the discerning eyes of one of the world’s foremost abstract painters. Stella uses the crisis of representational art in sixteenth-century Italy to illuminate the crisis of abstraction in our time.Trade ReviewMr. Stella’s way of dealing with single paintings, 36 of which are reproduced in color, makes for one tour-de-force after another… Paintings familiar and unfamiliar, from the ‘Mona Lisa’ to Wassily Kandinsky’s ‘Composition IX,’ gain a just-washed sparkle. -- Peter Schjeldahl * New York Times Book Review *Working Space comes as something of a bombshell. For this is a book that explodes a great many received ideas about abstraction… [It] is certainly one of the most remarkable books ever written on the subject. What makes it so remarkable, of course, is that Stella is unquestionably the most celebrated abstract painter of his generation. -- Hilton Kramer * The Atlantic *It is seldom that a major artist is prepared to commit himself publicly to a considered, large-scale survey of the art of his time, and to relate it moreover to substantial cross-sections of the art of the past. Frank Stella has done this in his Charles Eliot Norton Lectures at Harvard, with considerable erudition, great verve and genuine originality. -- John Golding * Times Literary Supplement *This is a marvelously insightful and thought-provoking book… Stella’s perception of the problem is correct—abstraction has reached a watershed. His analysis of that problem is erudite and plausible, and at times even passionate. If he does not solve it within these pages, he at least has made us consider its ramifications, and he has enabled us to look at art from a valuable and rarely available perspective. -- Edward J. Sozanski * Philadelphia Inquirer *Working Space develops its thesis with such gusto, elegance, and conviction… The text is rich with insight, integrity, and unexpected rethinkings of erstwhile familiar images. -- David Anfam * Art International *This is art history and art criticism of a high order, detailed and refreshingly idiosyncratic. Both scholarly and hip, Stella has written a book that reveals the painter’s mind and studio, allowing us to see the play of history and vision that goes on within. Highly recommended. -- Calvin Reid * Library Journal *Table of ContentsCaravaggio The Madonna of the Rosary Annibale Carracci Picasso A Common Complaint The Dutch Savannah Illustration Credits Index
£23.36
John Wiley and Sons Ltd Art in Theory 16481815
Book SynopsisArt in Theory (1648-1815) provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars.Trade Review"All three of these books are essential additions to any public or private library concerned with Art. For the reader who comes a novice to this discipline they provide a superb first entry point to an otherwise bewildering array of publications concerned with the theory of art. Rather like a jigsaw puzzle they encourage the reader to make the connections that will complete the picture. But more importantly, what each of these anthologies does brilliantly is to tempt the relative novice to go further with their research. By presenting an overview of the evolution of a set of ideas within defined parameters and over a specified period of time through the erudite selection of sensitively edited primary texts, the reader is subtly invited to seek out the originals and flesh out their understanding. For those who are more experienced in the field they cleverly provide a means of prompting new ideas within the reader's field of enquiry." --Journal of Art & DesignTable of ContentsAcknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: Establishing the Place of Art:. Introduction. 1. Ancients and Moderns:. 1. From The Painting of the Ancients 1637: Franciscus Junius. 2. Letter to Junius 1637: Peter Paul Rubens. 3. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco. 4. Dedication to Constantijn Huygens from Icones I 1660: Jan de Bisschop. 5. From Painting Illustrated in Three Dialogues 1685: William Aglionby. 6. 'A Digression on the Ancients and the Moderns' 1688: Bernard le Bovier de Fontenelle. 7. Preface and 'Second Dialogue' from Parallel of the Ancients and Moderns 1688: Charles Perrault. 8. From Reflections upon Ancient and Modern Learning 1694: William Wotton. 2. The Academy: Systems and Principles:. 9. Letters to Chantelou and to Chambray 1647/1665: Nicholas Poussin. 10. Observations on Painting c. 1660-5: Nicholas Poussin. 11. Recollections of Poussin 1662-1685: Various Authors. 12. Petition to the King and to the Lords of his Council 1648: Martin de Charmois. 13. Statutes and Regulations of the Académie Royale de Peinture et de Sculpture 1648. 14. From An Idea of the Perfection of Painting 1662: Roland Fréart de Chambray. 15. Letter to Poussin c. 1665: Jean Baptiste Colbert. 16. 'The Idea of the Painter, Sculptor and Architect' 1664: Giovanni Pietro Bellori. 17. From Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: André Félibien. 18. Preface to Seven Conferences 1667: André Félibien. 19. 'First Conference' 1667: Charles LeBrun. 20. 'Second Conference' 1667: Philippe de Champaigne. 21. 'Sixth Conference' 1667: Charles LeBrun. 22. 'Conference on Expression' 1668: Charles LeBrun. 23. Table of Precepts: Expression 1680: Henri Testelin. 3. Form and Colour:. 24. 'De Imitatione Statuorum', before 1640: Peter Paul Rubens. 25. From The Microcosm of Painting 1657: Francesco Scannelli. 26. From 'Diary of the Cavaliere Bernini's Visit to France' 1665: Paul Fréart de Chantelou. 27. From De Arte Graphica 1667: Charles-Alphonse Du Fresnoy. 28. 'Remarks on De Arte Graphica' 1668: Roger de Piles. 29. From The Rich Mines of Venetian Painting 1676: Marco Boschini. 30. 'Conference on Titian's Virgin and Child with St John' 1671: Phillipe de Champaigne. 31. 'Conference on the Merits of Colour' 1671: Louis Gabriel Blanchard. 32. 'Thoughts on M. Blanchard's Discourse on the Merits of Colour' 1672: Charles LeBrun. 33. From Dialogue upon Colouring 1673: Roger de Piles. 34. From Practical Discourse on the Most Noble Art of Painting c. 1675: Jusepe Martinez. 35. From The Antiquity of the Art of Painting c. 1690: Felix da Costa. 4. The 'je ne sais quoi':. 36. From The Hero 1637: Baltasar Gracián. 37. From The Art of Worldly Wisdom 1647: Baltasar Gracián. 38. 'Answer to Davenant's Preface to Gondibert' 1650: Thomas Hobbes. 39. From Fire in the Bush and The Law of Freedom in a Platform 1650/2: Gerrard Winstanley. 40. From Pensées c.1654-1662: Blaise Pascal. 41. On Grace and Beauty from Conversations on the Lives and Works of the Most Excellent Ancient and Modern Painters 1666: André Félibien. 42. From The Conversations of Aristo and Eugene 1671: Dominique Bouhours. 43. From A Compleat Body of Divinity 1689/1701: Samuel Willard. 44. On Art and Beauty, Before 1716: Gottfried Wilhelm Leibniz. 5. Practical Resources:. 45. From Miniatura; or The Art of Limning, Revised 1648: Edward Norgate. 46. On Rembrandt and Jan Lievens c.1630: Constantijn Huygens. 47. Letters to Constantijn Huygens 1636-9: Rembrandt van Rijn. 48. From In Praise of Painting 1642: Philips Angel. 49. From The Art of Painting, its Antiquity and Greatness 1649: Francisco Pacheco. 50. Preface to Perspective Practical 1651: Jean Dubreuil. 51. From Introduction to the Academy of Painting; or, The Visible World 1678: Samuel van Hoogstraten. 52. 'The Excellency of Painting' from A Treatise of Perspective 1684: R. P. Bernard Lamy. 53. From Principles for Studying the Sovereign and Most Noble Art of Painting 1693: José Garcia Hidalgo. Part II: The Profession of Art:. Introduction. 6. Painting as a Liberal Art:. 54. From The Great Book on Painting 1707: Gerard de Lairesse. 55. From The Principles of Painting 1708: Roger de Piles. 56. On Feminine Studies, After 1700: Rosalba Carriera (1675-1757). 57. 'To the Reader' 1710: Mary Chudleigh. 58. From The Pictorial Museum and Optical Scale 1715-24: Antonio Palomino y Velasco. 59. From Essay on the Theory of Painting 1715: Jonathan Richardson. 60. From The Science of a Connoisseur 1719: Jonathan Richardson. 61. On the Grand Manner, from 'On the Aesthetic of the Painter' 1721: Antoine Coypel. 62. From 'On the Excellence of Painting' 1721: Antoine Coypel. 63. From Cyclopaedia 1728: Ephraim Chambers. 64. 'On Drawings' 1732: Comte de Caylus. 65. 'The Life of Antoine Watteau' 1748: Comte de Caylus. 7. Imagination and Understanding:. 66. 'Of the Association of Ideas' from An Essay Concerning Human Understanding 1700: John Locke. 67. From 'The Moralists, A Philosophical Rhapsody' 1709: Anthony Ashley Cooper, Third Earl of Shaftesbury. 68. From 'A Notion of the Historical Draught of the Tablature of the Judgement of Hercules' 1712: Anthony Ashley Cooper, Third Earl of Shaftesbury. 69. 'On the Pleasures of the Imagination' 1712: Joseph Addison. 70. From Treatise on Beauty 1714: Jean-Pierre de Crousaz. 71. From Critical Reflections on Poetry and Painting 1719: Abbé Jean-Baptiste du Bos. 72. Preface to An Inquiry into the Original of our Ideas of Beauty and Virtue 1725: Francis Hutcheson. 73. 'Third Dialogue' from Alciphron, or the Minute Philosopher 1732: George Berkeley, Bishop of Cloyne. 74. 'Of the Sublime' 1725: Jonathan Richardson. 75. 'The Beau Ideal' 1732: Lambert Hermanson ten Kate. 76. From The Philosopher's Cabinet 1734: Pierre de Marivaux. 77. 'The Beauty of the World' c.1750: Jonathan Edwards. Part III: Judgement and the Public Sphere:. Introduction. 8. Classical and Contemporary:. 78. From A Treatise on Ancient Painting 1740: George Turnbull. 79. From 'Discourse on the Arts and Sciences' 1750: Jean-Jacques Rousseau. 80. From 'Discourse on the Origins of Inequality' 1755: Jean-Jacques Rousseau. 81. From Observations upon the Antiquities of the Town of Herculaneum 1753: Jérôme-Charles Bellicard and Charles Nicolas Cochin fils. 82. From Reflections on the Imitation of Greek Works in Painting and Sculpture 1755: Johann Joachim Winckelmann. 83. From An Inquiry into the Beauties of Painting 1761: Daniel Webb. 84. From The Antiquities of Athens 1762: James Stewart and Nicholas Revett. 85. From A History of Ancient Art 1764: Johann Joachim Winckelmann. 86. 'Of the Camera Obscura' from Essay on Painting 1764: Francesco Algarotti. 87. From Laocoön: on the Limitations of Painting and Poetry 1766: Gotthold Ephraim Lessing. 9. Aesthetics and the Sublime:. 88. From Reflections on Poetry 1735: Alexander Gottlieb Baumgarten. 89. 'Prolegomena' to Aesthetica 1750: Alexander Gottlieb Baumgarten. 90. From The Analysis of Beauty 1753: William Hogarth. 91. 'Dialogue on Taste' 1755: Allan Ramsay. 92. 'Of the Standard of Taste' 1757: David Hume. 93. From A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful 1757: Edmund Burke. 94. 'An Essay on Taste' 1757: Charles-Louis de Secondat, Baron de Montesquieu. 95. 'Essay on Taste' 1757: Voltaire. 96. Letters to 'The Idler' 1759: Joshua Reynolds. 97. From Conjectures on Original Composition 1759: Edward Young. 98. From Giphantia 1760: Charles François Tiphaigne de la Roche. 99. From Aesthetica in Nuce 1762: Johann Georg Hamann. 100. From Reflections on Beauty and Taste in Painting 1762: Anton Raphael Mengs. 101. 'Beautiful, Beauty' from Philosophical Dictionary 1764: Voltaire (Francois-Marie Arouet). 102. 'Of Taste' from Essays on the Intellectual Powers of Man 1785: Thomas Reid. 10. The Practice of Criticism:. 103. Reflections on Some Causes of the Present State of Painting in France 1747: Etienne La Font de Saint-Yenne. 104. From 'Letter on the Exhibition of Works of Painting, Sculpture, etc.' 1747: Jean-Bernard, Abbé le Blanc. 105. From 'Letter on Painting, Sculpture and Architecture' 1748: Louis-Guillaume Baillet de Saint-Julien. 106. 'On Composition' 1750: Comte de Caylus. 107. From Essay on Architecture 1753: Marc-Antoine, Abbé Laugier. 108. 'Letter to M. de Bachaumont on Taste in the Arts and Letters' 1751: Jean-Baptiste de La Curne de Sainte-Palaye. 109. 'Art' from the Encyclopédie 1751: Denis Diderot. 110. 'Genius' from the Encyclopédie 1757: Jean-Francois, Marquis de Saint-Lambert. 111. 'Observation' from the Encyclopédie 1765: Anonymous. 112. From the Correspondence Littéraire 1756: Friedrich Melchior, Baron Grimm. 113. 'Reflexions on Sculpture' 1761: Etienne Falconet. 114. From the 'Salon of 1763', 1763: Denis Diderot. 115. From the 'Salon of 1765' and 'Notes on Painting' 1765: Denis Diderot. 116. From the 'Salon of 1767', 1768: Denis Diderot. Part IV: A Public Discourse:. Introduction. 11. Consolidation and Instruction:. 117. Letter to Richard Graves 1760: William Shenstone. 118. 'Of Academies' c.1760-1: William Hogarth. 119. From 'Letter on Sculpture' 1765: Frans Hemsterhuis. 120. 'A Discourse upon the Academy of Fine Art at Madrid' 1766: Anton Raphael Mengs. 121. Correspondence 1766-7: Benjamin West and John Singleton Copley. 122. On the Death of General Wolfe c.1771: Benjamin West. 123. From Discourses on Art, III, VI and XI 1770-82: Joshua Reynolds. 124. Discourse IX 1780: Joshua Reynolds. 125. On Exhibtions by Angelica Kauffman 1775-86: Various Reviewers. 126. From An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England 1774: James Barry. 127. From 'Disconnected Thoughts on Painting, Sculpture and Poetry' 1781: Denis Diderot. 128. From Treatise on the Principles and Rules of Painting 1781: Jean-Etienne Liotard. 129. From A Review of the Polite Arts in France 1782: Valentine Green. 130. 'Address to the Royal Academy of San Fernando regarding the Method of Teaching the Visual Arts' 1792: Francisco Goya. 131. From the Dictionnaire des Arts de Peinture, Sculpture et Gravure 1792: Claude-Henri Watelet and Pierre-Charles Lévesque. 132. A Letter to the Dilettanti Society 1798: James Barry. 12. Revolution:. 133. From Mémoires Secrets 1783-5: Anonymous. 134. Letter to Joseph-Marie Vien 1789: Charles-Étienne-Gabriel Cuvillier. 135. Review of the Salon of 1789: Comte de Mende Maupas. 136. 'Artists' Demand' 1789: Students of the Académie Royale des Beaux-Arts. 137. Letter to Thomas Jefferson 1789: John Trumbull. 138. Response to Edmund Burke 1790: Mary Wollstonecraft. 139. 'On the System of Teaching' from Considerations on the Arts of Design in France 1791: Antoine Quatremère de Quincy. 140. On his Picture of Le Peletier 1793: Jacques-Louis David. 141. Preliminary Statement to the Official Catalogue of the Salon 1793: Gazat, Minister of the Interior/Anonymous. 142. 'The Jury of Art' 1793: Jacques-Louis David. 143. Proposal for a Monument to the French People 1793: Jacques-Louis David. 144. Project for the Apotheoses of Barra and Viala 1794: Jacques-Louis David. 145. 'Foreword' to the Historical and Chronological Description of the Monuments of Sculpture 1795/7: Alexandre Lenoir. Part V: Nature and Human Nature:. Introduction. 13. The Human as Subject:. 146. Letters 1758-73: Thomas Gainsborough. 147. On Thomas Gainsborough 1788: Joshua Reynolds. 148. 'Of the Effects of Genius' 1770: William Duff. 149. 'On German Architecture' 1772: Johann Wolfgang Goethe. 150. On London, from Letter to Baldinger 1775: Georg Christoph Lichtenberg. 151. From Essays on Physiognomy 1775-8: Johann Kaspar Lavater. 152. From Sculpture: Some Observations on Form and Shape from Pygmalion's Creative Dream 1778: Johann Gottfried Herder. 153. 'What is Enlightenment?' 1784: Immanuel Kant. 154. From 'On the Creative Imitation of Beauty' 1788: Karl Phillip Moritz. 155. From Critique of Judgment 1790: Immanuel Kant. 156. From Essays on the Nature and Principles of Taste 1790: Archibald Alison. 157. From Letters on the Aesthetic Education of Man 1795-6: Friedrich Schiller. 158. From 'On Naive and Sentimental Poetry' 1795-6: Friedrich Schiller. 159. Letter to Karl Friedrich von Heinitz 1796: Asmus Jakob Carstens. 160. The 'Earliest System-Programme of German Idealism' c.1796: Georg Wilhelm Friedrich Hegel. 14. Landscape and the Picturesque:. 161. 'Unconnected Thoughts on Gardening' 1764: William Shenstone. 162. 'The Principles of Painting' from Essays on Prints 1768: William Gilpin. 163. 'Letter on Landscape Painting' 1770: Salomon Gessner. 164. Exchange of Letters on Landscape Painting 1784: Salomon Gessner and Konrad Gessner. 165. From Observations on the River Wye 1782: William Gilpin. 166. 'Landscape (Arts of Design)' from General Theory of the Fine Arts 1771-4: Johann Georg Sulzer. 167. Review of The Fine Arts in their Origin, their True Nature and Best Application, by J.G. Sulzer 1772: Johann Wolfgang Goethe. 168. 'Nature' 1782-3: Georg Christof Tobler. 169. 'A New Method of Assisting the Invention in Drawing Original Compositions of Landscape' 1785: Alexander Cozens. 170. 'On Landscape Painting' 1790: Johann Kaspar Lavater. 171. From 'On Picturesque Beauty' and 'On Picturesque Travel' 1792: William Gilpin. 172. 'On Landscapes and Seapieces' from Charis, or on Beauty and the Beautiful in the Imitative Arts 1793: Friedrich Ramdohr. 173. From 'An Essay on the Picturesque' 1794: Sir Uvedale Price. 174. From The Landscape: A Dramatic Poem 1795: Richard Payne Knight. 175. From 'A Dialogue on the Distinct Characters of the Picturesque and the Beautiful' 1801: Sir Uvedale Price. 176. Notebook and Diary Entires, c.1790 to 1797: Katherine Plymley. 177. 'Letter on Landscape Painting' 1795: Francois René, Comte de Chateaubriand. 178. 'On Poetry and Our Relish for the Beauties of Nature' 1797: Mary Wollstonecraft. 179. From Northanger Abbey c.1799-1803: Jane Austen. Part VI: Romanticism:. Introduction. 15. Romantic Aesthetics:. 180. From 'Critical Fragments' 1797: Friedrich Schlegel. 181. From 'Athenaeum Fragments' 1798: Friedrich Schlegel. 182. 'Fugitive Thoughts' 1798-1801: Novalis. 183. From Aphorisms on Art 1802: Joseph Görres. 184. 'Advertisement' from Lyrical Ballads 1798: William Wordsworth. 185. From Preface to Lyrical Ballads 1800: William Wordsworth. 186. From Description of Paintings in Paris and the Netherlands in the Years 1802-04 1805: Friedrich Schlegel. 187. From 'Concerning the Relation of the Plastic Arts to Nature' 1807: Friedrich Schelling. 188. 'The Spirit of True Criticism' from A Course of Lectures Dramatic Art and Literature 1808: August Wilhelm Schlegel. 189. From 'Aphorisms on Art' 1788-1818: Henry Fuseli. 190. 'On the Principles of Genial Criticism' 1814: Samuel Taylor Coleridge. 191. From A Philosophical View of Reform 1819-20: Percy Bysshe Shelley. 16. Painting and Fiction:. 192. From Confessions from the Heart of an Art-Loving Friar 1796: Wilhelm Wackenroder. 193. From Franz Sternbald's Wanderings 1798: Ludwig Tieck. 194. On the Caprichos 1799: Francisco de Goya. 195. The Blue Flower from Henry of Ofterdingen 1799-1801: Novalis (Friedrich von Hardenberg). 196. Letters 1802: Philipp Otto Runge. 197. From Corinne 1807: Madame de Staël. 198. Letters 1799-1805: William Blake. 199. Marginal Notes to Reynolds' Discourses 1801-9: William Blake. 200. From Descriptive Catalogue 1809: William Blake. 201. Introduction to The Grave 1808: Henry Fuseli. 202. From Views on the Dark Side of Natural Science 1808: Gotthilf Heinrich Schubert. 203. 'Remarks Upon a Landscape Painting Intended as an Altar Piece by Herr Friedrich' 1809: Friedrich Ramdohr. 204. On The Cross in the Mountains, Letter to Schulz 1809: Caspar David Friedrich. 205. 'Various Emotions before a Seascape by Friedrich' 1810: Clemens Brentano. 206. 'Emotions before Friedrich's Seascape' 1810: Heinrich Kleist. 207. 'Letter from a Young Poet to a Young Painter' 1810: Heinrich Kleist. 208. 'Beethoven's Instrumental Music' 1813: E.T.A. Hoffmann. 209. Letter to Arndt 1814: Caspar David Friedrich. Part VII: Observation and Tradition:. Introduction. 17. Objects of Study:. 210. Introduction to the Propyläen 1798: Johann Wolfgang Goethe. 211. From Reflections on the Present Condition of the Female Sex 1798: Priscilla Wakefield. 212. From 'Advice to a Student on Painting, and Particularly on Landscape' 1800: Pierre-Henri de Valenciennes. 213. Letters to Dunthorne 1799-1814: John Constable. 214. 'An Account of a Method of Copying Paintings Upon Glass, and of Making Profiles' 1802: Thomas Wedgwood and Humphry Davy. 215. 'On Landscape Painting' 1803: Karl Ludwig Fernow. 216. From Essays on the Anatomy of Expression in Painting 1806: Charles Bell. 217. Letter to Goethe 1806: Philipp Otto Runge. 218. From Theory of Colours 1810: Johann Wolfgang Goethe. 219. 'Backgrounds, Introduction of Architecture and Landscape' 1811: Joseph Mallord William Turner. 220. From A Treatise on Landscape Painting and Effect in Water Colours 1813-14: David Cox. 221. Preface to Etchings of Rustic Figures 1815: William Henry Pyne. 222. From Daylight: A Recent Discovery in the Art of Painting 1817: Henry Richter. 223. Advice on the Painting of Portraits c.1820-30: Elizabeth Vigée-Lebrun. 18. The Continuity of Symbols:. 224. 'Discourse to the Students of the Royal Academy' 1792: Benjamin West. 225. 'The Painting of the Sabines' 1799: Jacques-Louis David. 226. 'Discourse Addressed to Vien' 1800: Pupils of David. 227. 'Of the Subjects of Pictures' from The Genius of Christianity 1802: François-René, Comte de Chateaubriand. 228. Letter to Passavant 1808: Franz Pforr. 229. 'The Three Ways of Art' 1810: Friedrich Overbeck. 230. Letter to Joseph Görres 1814: Peter Cornelius. 231. From The Description of Egypt 1809-20: Edmé François Jomard (ed., et al). 232. 'Style' after 1810: John Flaxman. 233. From Symbolism and Mythology of the Ancient Peoples, Particularly the Greeks 1810: Georg Friedrich Creuzer. 234. The Debate on the Elgin Marbles 1808-1816:. Letter to the Monthly Magazine 1808: George Cumberland. Letter to the Earl of Elgin 1809: Benjamin West. Letters to de Quincy and the Earl of Elgin 1815: Antonio Canova. From Report of the Parliamentary Select Committee on the Earl of Elgin's Collection of Marbles 1816. From The Judgement of Connoisseurs upon Works of Art 1816: Benjamin Robert Haydon. 'The Fine Arts' from Supplement to the Encyclopaedia Britannica 1816: William Hazlitt. 235. From Notebooks and Letters c.1813-21: Jean Auguste Dominique Ingres. 236. From An Inquiry into the Symbolical Language of Ancient Art and Mythology 1818: Richard Payne Knight. Bibliography. Copyright Acknowledgements. Index.
£31.30
Canongate Books Letters of Note: Art
Book SynopsisIn Letters of Note: Art, Shaun Usher celebrates extraordinary correspondence about art, from missives on the agony of being overlooked, the ecstasy of producing work that excites, to surprising sources of inspiration and rousing manifestos. Includes letters by:Michelangelo, Salvador Dali,Frida Kahlo, Artemisia Gentileschi,Oscar Howe, Martin Scorsese,Henri Matisse, Mick Jagger,Augusta Savage, Vincent van Gogh& many moreTrade ReviewPraise for Letters of Note: The literary equivalent of a box of chocolates - bite-sized and pure addictive pleasure . . . The result is beautifully produced, with photographs and colour facsimiles of much of the correspondence * * Sunday Times * *Addictive, like dipping into a bag of variously tempting assorted candies, knowing that the next one will always bring surprise and pleasure * * New Yorker * *A gloriously presented compilation * * Financial Times * *As a guide to letters that deserve a wider readership, Usher's compilation is hard to beat * * Scotland on Sunday * *Quite literally the most enjoyable volume it is possible to imagine. Every page is a marvel * * Spectator * *It is hard to see how Letters Of Note could ever be surpassed * * Mail on Sunday * *Funny, tragic, brilliantly incisive, historic, lyrical, romantic and studiedly offensive, this stupendous compendium of letters ancient and modern is my book of the year. You will never tire of it -- Stephen FryIt is inspiring, and often sad, funny, and occasionally quite surreal * * GQ * *A wonderful collection of magical missives . . . It'll have you reaching for pen and paper * * Evening Standard * *A truly extraordinary reading experience * * Big Issue * *
£6.99
Hatje Cantz Paul Klee: Life and Work
Book SynopsisPaul Klee (1879–1940) is one of the most important representatives of modern art. His oeuvre is as universal as it is individual, standing tall among all of the currents and “isms” of his day. His overwhelming body of paintings, drawings, and other visual works; his letters, journal entries, and, last but not least, his teaching notes form the background for this pointed depiction of the life and work of the meditative artist and visual thinker. This richly illustrated volume traces Klee’s eventful biography, ranging from his artistic beginnings with caricature-like drawings and nudes, his encounter with the avant-garde and the famous watercolors from his journey to Tunisia, the abstract color compositions from the Bauhaus era, to the mysterious, inventive images of his last years in Bern.
£999.99
Hodder & Stoughton The Diver and The Lover: A novel of love and the
Book Synopsis'The lives of the characters get entangled in this powerful read' WOMAN'S OWN'A pacy, gripping tale... written with skill and colour. It gave me enormous pleasure to read such a satisfying novel.' SANTA MONTEFIORE 'If you're in desperate need of a far-flung getaway, indulge in this slice of escapist fiction' HEAT'Being transported to a Spanish summer in 1951... I feel the cool of the shadows under the trees and hear the sea as it glistens in the rippling heat.' FERN BRITTON'This absorbing, poignant rollercoaster of a read is utterly satisfying and will stay with you long after you've put it down.' PATRICIA SCANLAN 'Keeps up the pace and excitement to the very end.' JOAN BAKEWELLSoaked in sunlight, love and the mysteries surrounding a famous artist The Diver and the Lover is a novel inspired by true events.It is 1951 and sisters Ginny and Meredith have travelled from England to Spain in search of distraction and respite. The two wars have wreaked loss and deprivation upon the family and the spectre of Meredith's troubled childhood continues to haunt them. Their journey to the rugged peninsula of Catalonia promises hope and renewal. While there they discover the artist Salvador Dali is staying in nearby Port Lligat. Meredith is fascinated by modern art and longs to meet the famous surrealist. Dali is embarking on an ambitious new work, but his headstrong male model has refused to pose. A replacement is found, a young American waiter with whom Ginny has struck up a tentative acquaintance. The lives of the characters become entangled as family secrets, ego and the dangerous politics of Franco's Spain threaten to undo the fragile bonds that have been forged. A powerful story of love, sacrifice and the lengths we will go to for who - or what - we love.
£8.54
Bloomsbury Publishing PLC A Cultural History of Dress and Fashion in the
Book SynopsisOver the last century there has been a complete transformation of the fashion system. The unitary top-down fashion cycle has been replaced by the pulsations of multiple and simultaneous styles, while the speed of global production and circulation has become ever faster and more complex. Running in tandem, the development of artificial fibres has revolutionized the composition of clothing, and the increased focus on youth, sexuality, and the body has radically changed its design. From the 1920s flapper dress to debates over the burkini, fashion has continued to be deeply involved in society's larger issues.Drawing on a wealth of visual, textual and object sources and illustrated with over 100 images, A Cultural History of Dress and Fashion in the Modern Age presents essays on textiles, production and distribution, the body, belief, gender and sexuality, status, ethnicity, and visual and literary representations to illustrate the diversity and cultural significance of Table of ContentsList of Illustrations Introduction Alexandra Palmer (Royal Ontario Museum, Toronto, Canada) Chapter 1 – Textiles Susan Ward (Independent scholar and curator, USA) Chapter 2 – Production and Distribution Veronique Pouillard (University of Oslo, Norway) Chapter 3 – The Body Adam Geczy (University of Sydney, Australia) and Vicki Karaminas (Massey University, New Zealand) Chapter 4 – Belief Susan J. Palmer (Concordia University, Canada) and Paul Gareau (University of Alberta, Canada) Chapter 5 – Gender and Sexuality Annamari Vanska (Aalto University, Finland) Chapter 6 – Status Jane Tynan (Central Saint Martins, University of the Arts London, UK) Chapter 7 – Ethnicity Simona Segre Reinach (Bologna University, Italy) Chapter 8 – Visual Representations Rachael Barron-Duncan (Central Michigan University, USA) Chapter 9 – Literary Representations Irene Gammel (Toronto Metropolitan University, Canada) and Katherine Mulhallen (Toronto Metropolitan University, Canada) Notes Bibliography Notes on Contributors Index
£26.59
National Gallery Company Ltd After Impressionism: Inventing Modern Art
Book SynopsisThrough the 1880s the very essence of representation, meaning and process in Western art were profoundly interrogated. Plausible representations of the external world were cast aside in favour of non-naturalism expressed in varying degrees, from modest distortions of reality to pure abstraction. The decades that followed, up to the outbreak of the First World War in 1914, were a complex, vibrant period of artistic questioning, searching, risk-taking and innovation. Concentrating on this period of great upheaval, this book will explore the constructive dialogue between painting and sculpture, and the influential roles played by three giants of the era, Paul Cézanne, Paul Gauguin and Vincent van Gogh, across European art as a whole. While acknowledging the centrality of Paris as a cultural capital, it will also uniquely highlight other centres of artistic ferment in Europe, from Brussels and Barcelona to Berlin and Vienna, and track the variety of routes into modernism in the early twentieth century. This fully illustrated catalogue will contain four essays, introductions to each city of ferment and biographies of the artists. Published by National Gallery Global/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London 25 March–13 August 2023
£38.00
Yale University Press The Private Universe of James Castle
Book SynopsisA new approach to the work of self-taught artist James Castle that focuses on how his drawings and practice resonate with earlier masters
£23.75
Lund Humphries Publishers Ltd Owen Jones and the V&A: Ornament for a Modern Age
Book SynopsisOwen Jones (1809–1874), a prolific architect, designer, illustrator and printer, was recognised during his lifetime as one of the most influential contemporary figures in art and design theory. This insightful book, the latest in the V&A Nineteenth-Century Series, explores his relationship with the South Kensington Museum (later the Victoria and Albert Museum), from its inauguration in the 1850s through to his death in 1874. With particular focus on the creation of his celebrated volume The Grammar of Ornament (1856), his decorative scheme for the museum’s so-called ‘Oriental Court’ and the preparation of his lesser-known publication Examples of Chinese Ornament (1867), it offers a fascinating exploration of the identity of the early museum and its imperial context.Table of ContentsDirector’s Foreword; Series Editor’s Foreword; Introduction: From the Great Exhibition to the South Kensington Museum; Chapter 1 - ‘An ever-gushing fountain’: The Grammar of Ornament; Chapter 2 - Applied Principles: The ‘Oriental Court’; Chapter 3 - ‘Suggestive Character’: Examples of Chinese Ornament; Conclusion - ‘The Lawgiver of Ornamental Art’; Notes; Further Reading; Acknowledgements; Index.
£33.25
Insight Editions Harry Potter: Voldemort Wand Pen
Book Synopsis
£15.29
Imperial War Museum John Singer Sargent's Gassed
Book SynopsisJohn Singer Sargent's Gassed is one of IWM's most iconic and best-loved objects. Truly monumental in scale, it is also the largest painting in the museum's collection and has been on near-constant display since it was first exhibited in 1919. A favourite among visitors and the most requested image by researchers and publishers, the work endures as a lasting symbol of modern art in public service, and of the transformative conflict from which it came. In the following pages IWM's Head of Art Rebecca Newell traces the origins of this large and powerful painting in the final months of the First World War and celebrates the vibrancy and visual power of the work, revealed once again during recent conservation. John Singer Sargent's Gassed reflects on the challenges of creating and displaying a canvas of such size and the dramatic impact the work has had on generations of visitors to IWM. Finally, the book considers the painting's enduring legacy in the context of art inspired by conflict - a legacy now secured for future generations.
£21.25
HarperCollins Publishers The Unofficial World Cup Album A Poorly
Book SynopsisThe greatest moments in sporting history in inglorious technicolour, from the artists' known as NO SCORE DRAWSGenuinely upsetting.' David SquiresRepulsively ugly.' Séamas O''ReillyAn Unofficial World Cup Hall of Infamy, featuring the worst fouls, best goals, most questionable refereeing decisions, dodgiest barnets, mintest kits and a host of Where were you when?' moments.This is the first (and, let's face it, probably only) book from the multi-untalented team behind moderately successful Twitter account @CheapPanini, bringing mild bemusement to the world through the medium of wonky hand-drawn stickers.You can't fault them for effort, even if they still can't do hands, so dive into these pages like Roy Keane into a tackle.Trade Review‘As someone who has spent/wasted years drawing wonky likenesses of footballers, this book really speaks to me. Sure, one of Mandor Hidegkuti’s eyes has dropped deep and their Mark Van Bommel is genuinely upsetting, but this is a funny and loving collection, as fans of No Score Draws have come to expect.’ David Squires, Guardian cartoonist and author of The Illustrated History of Football ‘An exquisitely beautiful book of repulsively ugly drawings. Come for the terrifying gallery of disgusting freaks, but stay for the humour, nostalgia and sheer unbridled joy it shares for the game, and for sticker books; the holy texts of any football-mad childhood. Essential reading for anyone who's ever picked up a ball, a book, or a marker pen, and thought: "why not?" Well, it replies, this is why…’ Séamas O'Reilly, author of Did Ye Hear Mammy Died? Praise for the work of ‘No Score Draws’: ‘It’s absolutely awful and I love it.’ ‘Will absolutely ruin my partner’s Christmas.’ ‘Splendid and horrid at the same time.’ ‘Were my expectations met? Sadly, yes.’
£999.99
British Museum Press Feminine power
Book SynopsisAn exciting, wide-ranging exploration of the power and diversity of female figures of worship in world cultures and belief systems, from the ancient world to today. ---------- âWritten in plain and accessible language, without losing academic rigor... Crerar, who, like a contemporary Virgil, introduces us to sublime and terrifying entities, guiding us all the way through the complex and fascinating meanings of femininity and faith.â â MarÃa Pinal Villanueva, The Journal of Folklore Research Reviews âAn excellent catalogueâ â Waldemar Januszczak, The Sunday Times âA lucidly argued and richly illustrated catalogueâ â Marina Warner, The Guardian ---------- Divine women â in many guises â have featured in every world faith from deep history until the present day, inspiring people and cultures across the world. In a cross-cultural and global approach, this book discusses Eve alongside Inanna, Radha and Aphrodite in the context of sex and desire, while in the chapter on evil, witches Table of ContentsIntroduction 1. Forces of nature 2. Passion and desire 3. Evil 4. Justice and defence 5. Compassion and salvation Conclusion Notes and bibliography Acknowledgements and credits Index
£24.00
HarperCollins Publishers The Hooded Gunman An Illustrated History of
Book SynopsisWinner of the 2019 H.R.F. Keating Award for best biography or critical book related to crime fiction!A lavish full-colour celebration of the 2000 books by more than 250 authors published by the iconic Crime Club between 1930 and 1994.The Hooded Gunman was the sinister figure who, having appeared in various guises on the covers of Collins' various series of Mystery and Detective books in the 1920s, finally gained recognition with the launch of Collins' Crime Club, becoming the definitive imprint stamp on more than 2,000 books published by that august imprint between 1930 and 1994. From Agatha Christie to Reginald Hill, the Hooded Gunman was a guarantee of a first-class crime novel for almost 65 years, and those books are now as sought after and collectable and almost any other book series, with many commanding high prices and almost impossible to find.In the year that Collins the publisher founded by William Collins in Glasgow in 1819 is enjoying its 200th birthday, this book celebratTrade ReviewREVIEWS FOR AGATHA CHRISTIE’S SECRET NOTEBOOKS: 'Many of Curran's discoveries will shape how Christie is read in future… This book is fascinating.' INDEPENDENT ON SUNDAY ‘Agatha Christie’s notebooks have had to wait for the meticulous attention, dedication and prodigious knowledge of John Curran to achieve publication.’ THE TIMES ‘A meticulously detailed study that is packed with shrewd perceptions about Christie's fiction… Curran has produced an enthralling miscellany of a book, in which her fans will rummage to their heart's content.' SUNDAY TIMES 'Curran has organized his material as efficiently as an Agatha Christie mystery… His enthusiasm for his subject carries us along.' IRISH TIMES
£32.00
The Crowood Press Ltd The Language of Mixed-Media Sculpture
Book SynopsisThe Language of Mixed-Media Sculpture is both a survey and a celebration of contemporary approaches to sculptures that are formed from more than one material. It profiles the discipline in all its expanded forms and recognizes sculpture in the twenty-first century not as something solid and static, but rather as a fluid interface in material, time and space. It gives insightful revelations of the creative journeys of ten renowned sculptors and showcases twenty-eight international sculptors. With over two hundred colour photographs, this sumptuously illustrated volume will inspire those intrigued by and interested in contemporary sculpture.
£22.50
Oxford University Press Sculpture Since 1945
Book SynopsisIn the OXFORD HISTORY OF ART series, a look at innovative and avant-garde sculpture in relation to contemporary events, festivals, commissions and the changing functions of museums. Explores Anti-form, minimalism, Earth Art, Performance Art and other forms, presenting a holistic picture of post-war sculpture which will stimulate future debate.Trade ReviewAndrew Causey weaves his way adroitly through the labyrinth of post-War sculpture, carefully identifying the main directions and balancing clear theoretical exposition with his concern for the quality of the individual works. No one else has charted the territory so comprehensively, and his study is bound to be helpful to all who have an interest in this dominant strand of contemporary art. * Professor Stephen Bann, University of Kent at Canterbury *This is a stimulating and persuasive definition of significant trends in avant-garde sculpture during the last fifty years, which balances a searching analysis of the impact of institutional change, issues of site and environment and key critical debates with revealing commentaries on individual artists and works of art. Accessible without being simplistic, it is a discerning guide for anyone interested in contemporary art and culture. * Elizabeth Cowling, University of Edinburgh *Andrew Causey's Sculpture Since 1945 is a comprehensive account of sculpture in the years leading up to and following the explosion of sculpture in the 1960s and 70s. This book is a clear guide to the various directions of sculpture and the work of sculptors in the years when modern sculpture has begun to stand in its own right as a, or perhaps the, major art form. * Sir Anthony Caro Sculptor *Table of ContentsIntroduction ; 1. European Sculpture at End of the Second World War ; 2. The New Sculpture ; 3. Sculpture and the Everyday ; 4. Modernism and Minimalism ; 5. 'Anti-Form' ; 6. Natural Materials ; 7. Public Spaces ; 8. Object and Figure: Sculpture Since 1980 ; Notes, List of Illustrations, Bibliographic Essay, Timeline, Index
£21.14
Oxford University Press European Architecture 17501890
Book SynopsisThis comprehensive examination of eighteenth and nineteenth-century architecture explores its extreme diversity within the context of tremendous social, economic and political upheaval. Bergdolls offers a penetrating analysis of the very ways issues of style functioned to make architecture one of the most vitally experimental of art forms in a period of sweeping political, social, and economic change. Never before had the functional requirements and expressive capacities of architecture been tested so thoroughly and with such diversity of invention. Bergdoll traces this experimentation in a broad range of contexts, focusing in particular on the relation of architectural design to new theories of history, new categories of scientific inquiry, and the broadening audience for architecture in this period of transformation. Unlike traditional surveys with long lists of buildings and architects, the themes are elucidated by in-depth coverage of key buildings which in turn are situated in both their local and European context.Trade Reviewit has an unrivalled consistency of argument ... this book makes a substantial contribution to present knowledge and provides a clear window on the one art form you cannot ignore.Table of ContentsINTRODUCTION; 1. NEOCLASSICISM: SCIENCE, ARCHAEOLOGY AND THE DOCTRINE OF PROGRESS; 2. WHAT IS ENLIGHTENMENT? THE CITY AND THE PUBLIC, 1750-1789; 3. SENSATIONALISM FROM LANDSCAPE GARDEN TO THE ARCHITECTURE OF REFORM, 1750-1800; 4. REVOLUTIONARY ARCHITECTURE; 5. NATIONALISM AND DEBATES ON ARCHITECTURAL STYLE; 6. HISTORICISM AND NEW BUILDING TYPES; 7. NEW TECHNOLOGY AND ARCHITECTURAL FORM; 8. THE CITY TRANSFORMED; 9. FIN-DE-SIECLE; BIBLIOGRAPHICAL ESSAY; TIMELINE; GLOSSARY; INDEX
£21.14
Tate Publishing How Art Made Pop
Book SynopsisA remarkable and exhaustive study examining the intertwined histories of pop music and the visual arts, and exploring the exhilarating exchange between art schools and the pop stars that they nurtured (or, occasionally, expelled) How Art Made Pop encompasses the worldwide history of art school rock, and brings the story up to date by surveying recent trends and the practices contemporary of artist-musicians The individuals that populate How Art Made Pop may still have become successful musicians if they hadn't studied art, but the kind of musicians that they became, and the kind of music that they became interested in that was predominantly informed and modified by art school attendance. Where once these musicians would have considered themselves entertainers, they now became artists. And hence what they practiced - i.e. popular music - became an art form, not least because they said it was.
£18.75
Thames & Hudson Ltd How to Read a Modern Painting
Book SynopsisModern art, filled with complex themes and subtle characteristics, is a wonder to view, but can be intimidating and baffling to the casual observer. This guide analyses more than 200 works of modern art, describing each artists use of media and symbolism to help the reader unlock the paintings meaning.Trade Review'Liberally illustrated, well-designed and, above all, thoughtful … makes us eager to seek out the originals and discover them for ourselves' - Art QuarterlyTable of ContentsPreface • From Courbet to Warhol • Bibliography • Topographical index Index of names • Photographic acknowledgements
£16.96
Thames & Hudson Ltd Forties Fashion
Book SynopsisFocuses on fashion in the 1940s, offering coverage ranging from French style under the Occupation and the make do and mend mentality, through issues of dress, patriotism and propaganda and the development of faux fabrics and rationing, to the rise of American fashion houses and the creation of Christian Diors New Look.Trade Review'A must for anyone interested in retro fabrics and clothes designs' - Crafts'Lovely … those who are interested in fashion history, vintage garments and retro designs will simply love this book!' - Sewing World'A delight to pore over … Fabulously illustrated throughout, it will probably be on the wish list of serious textile departments' - School LibrarianTable of Contents1940s in Vogue • Between the Wars • The World of Tomorrow • Kangaroo Pockets and Siren Suits • Rationing, Utility and Austerity • The Battle for the Capital of Fashion • How America Fared • Zoots and Zazous • Beauty on Duty • Wardrobe • Parachute Brides • Trade, Lease and Loan • Pieces of Resistance • French Style • Fashion Among the Ruins • Post-War Priorities • New Looks
£16.96
Thames & Hudson Ltd Art Since 1989
Book SynopsisThe years since 1989 have seen a complete untethering of what art can be, who makes it and where it can be found, which has been matched by a reassessment of art's appropriate place in society. This title examines the themes in contemporary art, from portraiture in the age of face transplants and facial recognition software, and more.Table of Contents1. Face Time: Reinventing The Portrait • 2. You Are Here: Seeing Space in Contemporary Art • 3. The Seen And The Unseen: Death, God And Religion • 4. Streets And Struggles: Uprisings And Unrest • 5. Fleshed Out: The Body And Contemporary Art • 6. The Long Now: Time And History In Contemporary Art • 7. Event Horizons: Science And Contemporary Art • 8. Colours True And False: The New Abstract Art • 9. The Language Generation: Using Words In Art • 10. Timeline: The Key Detail
£11.66
Thames & Hudson Ltd Dada
Book Synopsis?Where and how Dada began is almost as difficult to determine as Homer?s birthplace,? writes Hans Richter, the artist and filmmaker closely associated with this radical movement from its earliest days. Here he records and traces Dada?s history, from its inception in wartime Zurich to its collapse in Paris in the 1920s, when many of its members joined the Surrealist movement, to the present day when its spirit reemerged in the 1960s in movements such as Pop Art. This absorbing eyewitness narrative is enlivened by extensive use of Dada documents, illustrations, and texts by fellow Dadaists.To celebrate one hundred years of Dada, Thames & Hudson is reissuing this unique document exactly as it first appeared in an expanded centenary edition. This edition features a new introduction telling the story of how the book came about and an extended commentary that identifies Richter?s sources and brings the study up-to-date for a new generation of readers.Trade Review'A first-rate history, objective and sober' - The Times'Hans Richter is the ideal chronicler' - Guardian'Such a historical work inevitably becomes a piece of art in its own right and this re-publication includes an extensive introduction and commentary … that allows it to be appreciated by a whole new audience' - Art Book Review
£11.66
JRP Ringier Parachute: The Anthology Photography, Film,
Book SynopsisFollowing two precious volumes of writings from the 1970s90s Canadian magazine Parachute Museums, Art History, and Theory and Performance & Performativitythe essays collected in this third volume focus on photography, film, video and new media. These genres were discussed in some of the earliest volumes of Parachute. Photography received particular attention in the early 1980s, film and video later in that decade and through the beginning of the 1990s. Discussing what were then still relatively new and overlooked artistic fields, these texts are particularly useful as signposts to how these new media and works were approached. The essays discuss works by artists such as Eija-Liisa Ahtila, James Coleman, Nan Goldin, Bill Viola and Rodney Graham. The texts by Georges Didi-Huberman, Douglas Crimp and Laura Mulvey, written in the early 1980s, are among their most seminal.
£15.20
Taschen GmbH Giger
Book Synopsis
£14.25
Prestel Georgia O'Keeffe and Alfred Stieglitz
Book SynopsisFew creative alliances flourished as productively as that of the artist Georgia O'Keeffe and the photographer Alfred Stieglitz. Author Peter-Cornell Richter examines the lives of these artists to reveal the roads they took together and independently. Alternating biographical chapters interweave their stories. More than fifty exquisite reproductions of their paintingsand photographs illustrate how the two artists inspired and influenced each other, producing masterpieces of lasting relevance.
£10.44
Tuttle Publishing Sumie
Book SynopsisSumi-e painting appeals to amateurs, professionals and hobbyists alike
£27.99
Manchester University Press Perspectives on Contemporary Printmaking:
Book SynopsisThis anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research.Trade Review‘This will be a significant and important contribution to the field and practice of printmaking and print media. The volume will be vital in MFA professional practice classes, and on theory and art historical courses.’Mary Hood, Artist‘Dr Ruth Pelzer-Montadas publication is an excellent compilation of selected text spanning 3 decades. This topographical discourse points to essential aspects concerning the critical discussions and the debates on contemporary print and printmaking and the tectonic shift of it.’Jan Pettersson, Professor, Head of Print & Drawing, Department for Art & Craft, Oslo National Academy of the Arts, Norway‘Combining the methodology of a practicing printmaker with the perception of a theorist, Pelzer-Montada assembles key texts on printmaking and print cultures into a comprehensive anthology of writings that reveals the depth and range of thinking and debate on this subject. A long overdue critical framing of print art, this book fulfills the need for a re-evaluation of the importance and ubiquity of print, mapping out its potential in a “post-print” society. […] These writings establish a genealogy of print grounded in society’s desire to maintain, record and disseminate its reflective thinking processes – that have ultimately shaped and evolved our need to communicate.’Andrew Folan, Head of Print, National College of Art and Design, Dublin‘Perspectives on contemporary printmaking is a brilliant book! A manual like this has been longed for both in the academic world and in the studios and printshops; most thoughtful theoretical analysis of printmaking art, assembled into a single anthology. It is informative, well-organized, and knowledgeable. I particularly enjoyed the carefully formulated division into four separate parts, accompanied with Ruth Pelzer-Montadas insightful introductions. It’s already a classic, the only of its kind. Highly and cordially recommended!’Annu Vertanen, artist, professor in printmaking, University of Arts, Helsinki'Perspectives on contemporary printmaking, edited by Ruth Pelzer-Montada, is an excellent, lively collection of 32 essays focusing on the status, ontology and philosophy of print in the contemporary arena […] The varying voices are all engaging, some challenging, some beautifully articulated, provoking rumination and providing ammunition for making print the centre of our conversation.'Wuon-Gean Ho, Printmaking Today (Winter 2018)‘In this compact impressive tome, the editor has grouped together relevant themes and writings, which form a kind of activist’s bible or tool of resistance to not only make sense of what has occurred these last thirty years, but to assert why it matters and why printmaking is still an active participant of change and a vital force of ideas. In many ways, this astute editor enables a better understanding of how knowledge is inextricably linked to the print form as she traces an unbroken seam of print production from its origins through to today.’Imprint -- .Table of ContentsIntroductionPart I: GenealogyBeat Wyss – Fragments for an art history of media: electr(on)ic thinking (1997)Ernst Rebel – The technical gaze: the parallel world of photography (2003)Frances Robertson – Post-print culture? (2013)Part II: Debates Ruth Weisberg – The syntax of the print: in search of an aesthetic context (1986)Richard S. Field – Sentences on printed art (1994)Kathryn Reeves – The re-vision of printmaking (1999)Andrzrej Bednarczyk – The shape of graphic art (2010)José Roca – The graphic unconscious or the how and why of a print triennial (2011)Richard Harding – Print as other: the future is queer (2013)Barbara Balfour – The what and the why of print (2016)Part III: KeywordsErnst Rebel – Coordinates of a history of the technical image (2003)Susan Lambert – The status of the reproduction (1988)Clare Humphries – Benjamin’s blindspot: aura and reproduction in the post-print age (2015)K. E. Gover – Are all multiples the same? The problematic nature of the limited edition (2015)Frieder Nake – Printing plates and pixel matrix: the mechanisation of memory (2010)Georges Didi-Huberman – Opening up an anachronistic point of view (1997)Deirdre Brollo – Untying the knot: memory and forgetting in contemporary print work (2013)Yara Flores – Spirit duplication (2010)Catherine Brooks – Three ways to use yellow (2014)Amze Emmons, R.L. Tillman and Jason Urban – On the manual (In the manual) (2014)Nicky Coutts – Animal print suicide (2014)Part IV: The fieldDaniel F. Herrmann – Edinburgh Printmakers and the notion of the workshop (2007)Jeremy Lewison – Projects and portfolios: narrative and structure (1995)Gill Saunders – Lasting impressions? A museum perspective on digital fine art printmaking (2009)Sheryl Conkelton – Print and the public sphere (2011)Johanna Drucker – The work event: art in the distributed field and systems of production (2013)Eric Triantafillou – All the instruments agree (2010)Mari Carmen Ramírez – Stamping (molding) marks: the San Juan Triennial tracking the new century (2004)Shang Hui – Chinese printmaking in the twenty-first century: new horizons and energies (2011)Matthew Perkins – What is ’studio’ in the post-disciplinary age? (2011)Amanda Thomson – Making a place: art and a multi-modal, multi-disciplinary approach (2014)R. L. Tillman – Failures, irritations and grief in printing: in search of Manly Banister, an excerpt from an unpublishable memoir (2014)Index
£25.00
Reaktion Books The Destruction of Art: Iconoclasm and Vandalism
Book SynopsisIn January 2006 a man tried to break Marcel Duchamp's Fountain sculpture with a small hammer. The sculpted foot of Michelangelo's David was damaged in 1991 by a purportedly mentally ill artist. Each such incident confronts us with the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth. Starting with the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and Eastern Bloc, Gamboni investigates other instances of destruction around the globe, uncovering a surprisingly widespread phenomenon. As he demonstrates through analyses of nineteenth- and twentieth-century incidents in the U.S. and Europe, a complex relationship exists between the evolution of modern art and a long history of iconoclasm. Gamboni probes the concept of artists' rights, the power of political protest and the ways in which iconoclasm offers a unique interpretation of society's relationship to art and material culture. This compelling and thought-provoking study, now in B-format paperback and with a new preface by the author, forces us to rethink the ways in which we interact with art and its power to shock or subdue.Trade Review`Well-illustrated . . . Gamboni brings together a great deal of fascinating information.' - The Independent; `Erudite and entertaining, Gamboni's book is an excellent guide to the outrageous in art.' - Glasgow Herald
£14.99
Getty Trust Publications Understanding Illuminated Manscripts, 2nd edition
Book SynopsisWhat is a historiated initial? What are canon tables? What is a drollery? This revised edition of Understanding Illuminated Manuscripts: A Guide to Technical Terms offers definitions of the key elements of illuminated manuscripts, demystifying the techniques, processes, materials, nomenclature, and styles used in the making of these precious books. Updated to reflect current research and technologies, this beautifully illustrated guide includes images of important manuscript illuminations from the collection of the J. Paul Getty Museum and beyond. Concise, readable explanations of the technical terms most frequently encountered in manuscript studies make this portable volume an essential resource for students, scholars, and readers who wish a deeper understanding and enjoyment of illuminated manuscripts and medieval book production.Trade Review"Highly recommended for a wide range of readers."-CHOICE; "Not only does it make lucid the most complex conventions of the illumination, but it is also a pocket history of the Middle Ages."-Magazine Antiques
£16.99
Siglio Press Intermedia, Fluxus and the Something Else Press -
Book SynopsisDick Higgins and his Something Else Press epitomized the riotous art of the ‘60s There are few art-world figures as influential—and as little known—as Dick Higgins (1938–98), cofounder of Fluxus, "polyartist," poet, scholar, theorist, composer, performer and, not least, the publisher of the legendary Something Else Press. In 1965 he restored the term "intermedia" to the English language, giving it new dimension to recognize the dissolution of boundaries between traditional modes of art-making and the open field for new forms that cannot be compartmentalized. His own contributions to intermedia are many—as a participant and instigator of happenings, as writer and composer straddling traditional and vanguard forms, among others—but it was Something Else Press (1963–74) that redefined how "the book" could inhabit that energized, in-between space. Something Else Press was as much a critical statement and radical experiment as it was a collection of books by some of the most luminary artists and writers of the 20th century: Gertrude Stein, John Cage, Ray Johnson, Dieter Roth, Bern Porter, Ian Hamilton Finlay, Emmett Williams, Robert Filliou, and George Brecht, among many others. Along with his Great Bear Pamphlet series and the Something Else newsletter, Higgins exploited and subverted conventional book production and marketing strategies to get unconventional and avant-garde works into the hands of new and often unsuspecting readers. Edited by Granary Books publisher Steve Clay and Fluxus artist Ken Friedman, this judiciously curated and indispensable compendium of essays, theoretical writings and narrative prose dives deep into the ever-influential ideas that Higgins explored in theory and practice. Clay and Friedman have chosen works that illuminate Higgins' voracious intellectual appetite, encyclopedic body of knowledge and playful yet rigorous experimentation in a selection that includes many writings long out of print or difficult to find.Trade ReviewIt's an unruly guide to publishing and preserving one's cultural present. -- Brian Dillon * Bookforum *Apart from its value in making several had-to-find essays available, this volume imparts a nuanced sense of a man who not only styled himself an avant-garde philosophe (not unlike his teacher John Cage) but also made a sustained and messy effort to create a worldly space for a certain kind of art, performance, and writing—and life. -- James Gibbons * Hyperallergic *An intoxicating, multifaceted bouquet of various genres of Higgins’s writing, the anthology highlights the artist’s role as participant-historian in numerous early postmodern currents across the visual arts, literature, music, theater, and dance. -- Natilee Harren * Artforum *Essential reading for any young artist who is ready to strike out into something new, something else. -- Michael Galbreth * Glasstire *A provocative firsthand account delving into the importance of artist collectives, the making of hybrid art forms, and the trials of independent publishing. * Kirkus *This volume contains a wealth of primary source texts which attest to Higgins’s ability to put words to the swirling cacophony of postwar art. -- Jennie Waldow * The Brooklyn Rail *
£27.00
