History of art Books

Book SynopsisThe period 1851 to 1929 witnessed the rise of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. It was also a time of rapid social, economic, and political change, encompassing a revolution in communication systems and technology, and an unprecedented growth in the availability of printed images. Richard Brettell''s innovative account explores the aims and achievements -- the beautiful and the bizarre -- of artists such as Monet, Gauguin, Picasso, and Dali, in relation to urban capitalism and expansion, colonialism, nationalism and internationalism, and the museum. Tracing common themes of representation, imagination, perception, and sexuality across works in a wide range of different media he presents a fresh approach to the fine art and photography of this remarkable era.Table of ContentsIntroduction: The Great Exhibition of 1851, London. (Paris: the capital of modern art; New technology; The beginnings of modern art) ; Part I: Realism to Surrealism. (Realism; Impressionism; Symbolism; Post-Impressionism; Neo-Impressionism; Synthetism; The Nabis; The Fauves; Expressionism; Cubism; Futurism; Orphism; Vorticism; Suprematism/ Constructivism; Neo-Plasticism; Dada; Purism; Surrealism; The '-ism' problem) ; Part II: The Conditions for Modern Art ; Chapter 1. Urban Capitalism. (Paris and the birth of the modern city; Capitalist society; The commodification of art; The modern condition) ; Chapter 2. Modernity, Representation, and the Accessible Image. (The art museum; Temporary exhibitions; Lithography; Photography; Conclusion) ; Part III: The Artist's Response ; Chapter 3. Representation, Vision, and 'Reality': The Art of Seeing. (The human eye; Transparency and unmediated modernism; Surface fetishism and unmediated modernism; Photography and unmediated modernism; Beyond the oil sketch; Cubism) ; Chapter 4. Image/Modernism and the Graphic Traffic. (The Pre-Raphaelite brotherhood; Puvis de Chavannes and Gustave Moreau: Image/Modernism outside the Avant-Garde; Image/Modernism outside France; Exhibitions of the Avant-Garde; Fragmentation, dislocation, and recombination) ; Part IV Iconology ; Introduction ; Chapter 5. Sexuality and the Body. (Manet's bodies; Modern art and pornography; The nude and the modernist cycle of life; The bathing nude; The allegorical or non-sexual nude; Colonialism and the nude: the troubled case of Gauguin; The bride stripped bare; Body parts and fragments) ; Chapter 6. Social Class and Class Consciousness. (Seurat and Sunday on the Grande Jatte, 1884; Class issues in Modernist culture; Portraiture; Images of peasantry; The worker and modern art) ; Chapter 7. Anti-Iconography: Art Without 'Subject'. (Landscape painting; Text and image; Abstraction) ; Chapter 8. Nationalism and Internationalism in Modern Art. (National identity; Time and place; Abstract art, spiritualism, and internationalism; Nationalist landscape painting) ; Afterword: The Private Institutionalization of Modern Art ; Notes; List of Illustrations; Bibliographic Essay; Timeline; Index

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Book SynopsisThis book is concerned with why (or whether) paintings have value: why they might be worth creating and attending to. The author traces an understanding of painting as ontologically revelatory from the theology of the Byzantine Icon to classical Chinese appreciations of landscape painting, and Phenomenologists inspired by European Modernist art.Table of ContentsPreface and Acknowledgements Introduction Part One 1: Do Paintings Matter? The Platonic Challenge 2: Truth (and Goodness) in Painting Part Two 3: Painting and Presence 4: Painting as Revelation: the Icon as Paradigm 5: Making the Invisible Visible: Merleau-Ponty 6: Expression and Form Part Three 7: Metaphysical Implications: Essences, Concepts, Value 8: Natural Beauty 9: The Re-enchantment of the World 10: Painting, Beauty, and the Sacred Bibliography

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Book SynopsisHistories you can trust.The Renaissance is one of the most celebrated periods in European history. But when did it begin? When did it end? And what did it include?Traditionally regarded as a revival of classical art and learning, centred upon fifteenth-century Italy, views of the Renaissance have changed considerably in recent decades. The glories of Florence and the art of Raphael and Michelangelo remain an important element of the Renaissance story, but they are now only a part of a much wider story which looks beyond an exclusive focus on high culture, beyond the Italian peninsula, and beyond the fifteenth century.The Oxford History of the Renaissance tells the cultural history of this broader and longer Renaissance: from seminal figures such as Dante and Giotto in thirteenth-century Italy, to the waning of Spain''s ''golden age'' in the 1630s, and the closure of the English theatres in 1642, the date generally taken to mark the end of the English literary Renaissance.Geographically, the story ranges from Spanish America to Renaissance Europe''s encounter with the Ottomansand far beyond, to the more distant cultures of China and Japan. And thematically, under Gordon Campbell''s expert editorial guidance, the volume covers the whole gamut of Renaissance civilization, with chapters on humanism and the classical tradition; war and the state; religion; art and architecture; the performing arts; literature; craft and technology; science and medicine; and travel and cultural exchange.Trade ReviewReview from previous edition [This] is a book that will not disappoint. Whether readers are well-versed in the field of Renaissance studies or simply have a casual interest in this fascinating subject, they will find much to enjoy. Though the concepts discussed are far from simplistic, the tone is highly readable. This book will be a welcome addition to any library on the subject. * All About History *Based on the latest historical research but aimed at the general reader, the Oxford "Histories" have maintained a very high standard over the years. This volume, edited by the great Renaissance scholar, Gordon Campbell, certainly maintains the Oxford University Press reputation for excellence. * Ed Voves, Art Eyewitness *Table of ContentsIntroduction Gordon Campbell: The Renaissance 1: Peter Mack: Humanism and the Classical Tradition 2: David Parrott: War and the State: c. 1400-1650 3: Stella Fletcher: Religion 4: Paula Nuttall and Richard Williams: The Civilisation of the Renaissance 5: Francis Ames-Lewis: Art and Architecture: Italy and Beyond 6: Paula Nuttall and Richard Williams: Art and Architecture: Flanders and Beyond 7: Margaret McGowan: The Performing Arts: Festival, Music, Drama, Dance 8: Warren Boutcher: Vernacular Literature 9: Pamela Long, Andrew Morrall: Craft and Technology in Renaissance Europe 10: Paula Findlen: The Renaissance of Science 11: Peter Burke and Felipe Fernández-Armesto: The Global Renaissance Further Reading Index

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Book SynopsisThis newly selected edition of William Morris''s works brings together poetry and prose, lectures, articles, and letters from his life, ordered chronologically, with an introduction highlighting his pressing and prescient writing on matters of the natural and built environment, human and non-human relations, internationalism, migration, and social justice, as well as the wide range of his literary and artistic concerns. Expert textual notes draw attention to the interconnectedness of Morris''s writing and its rich literary, historical, and political contexts and sources: this is work that reaches back to tales of personal, dynastic, and political passion in medieval Europe or the craftsmanship of ancient Persia as deftly as it lambasts Victorian work practices and living conditions in Britain or sets out to correct misconceptions about the nature of social revolution; it creates visions of a just, equal, and beautiful future from re-told or imagined pasts. This selection includes lyric

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Book SynopsisMichael Higgins broadens our understanding of the Seven Wonders of the Ancient World by bringing science, engineering, and technology together with ancient documentation and archaeological findings.The Seven Wonders of the Ancient World (Pyramids of Giza, Hanging Gardens of Babylon, Statue of Zeus at Olympia, Temple of Artemis at Ephesus, Colossus of Rhodes, and the Pharos Lighthouse at Alexandria) have been a source of fascination for more than two thousand years. Even though six of the Wonders are now gone, historians and archaeologists have attempted to explain how and why these ancient monuments were created. However, never before have these attempts been synthesized with the contributions of science, engineering, and technology.In The Seven Wonders of the Ancient World, Michael Higgins combines scientific research together with ancient documentation and archaeological findings to present a rich, multi-layered portrait of each monument. To build a Wonder took advanced social organiTrade ReviewHere is a refreshing treatment of a topic that goes back to antiquity: what were the methods and conditions that made possible the construction of the renowned Seven Wonders? With a light touch, Higgins brings to bear geology, metallurgy, ancient craft and engineering, archaeology, and historical scholarship to reveal how grand projects were achieved in ancient Egypt, the Near East, and Greece. * Alexander Jones, author of A Portable Cosmos *In this wide-ranging book Higgins, a geologist, presents a refreshing, personal approach to The Seven Wonders of the Ancient World. His energetic and well documented presentation differs from the many other discussions of the Wonders by carefully considering the associated influences of geology, tectonics, and the environment. An engaging final chapter on rebuilding the Wonders provides an engineer's view of how modern materials and techniques might have guaranteed the monuments a longer life. * John Peter Oleson, editor of The Oxford Handbook of Engineering and Technology in the Classical World *The Seven Wonders of The Ancient World: Science, Engineering, and Technology, Michael Denis Higgins,...Higgins ends his work with a theoretical discussion of how the ancient Wonders could be reconstructed with modern engineering...Professor Higgins's desire to rebuild the wonders of the ancient world is interesting. * Jesse Russell, Voegelinview *The book under review offers a fast-moving, impassioned, and richly illustrated exposé of the Seven Wonders from a specific angle: that of science, engineering, and technology... There is much to learn for everyone, particularly in the sections concerning the geology and materials involved in the creation of the Wonders, often overlooked in historical accounts... In sum, the book offers an original discussion of the modern list of Seven Ancient Wonders, bringing science, engineering, and technology to the forefront. It invites readers to explore these Wonders and their broader regional and scientific contexts. While it embraces a degree of speculation and may not fully satisfy the stringent referencing and historical rigor of the humanities, it provides many interesting insights about the Seven Wonders, making them again accessible to a general audience. * Bryn Mawr Classical Review *A fascinating work and one that is eminently accessible. It is also extremely readable, requiring very little prior knowledge of the science and technology of the ancient world. What could be a dry topic is anything but, and Higgins' writing is rich in detail and evocative of the distant worlds in which the wonders existed. The book will appeal to a wide range of readers, and deservedly so. * All About History *Table of ContentsChapter 1: Introduction Chapter 2: The Pyramids of Giza Chapter 3: The Hanging Gardens Chapter 4: The Statue of Zeus at Olympia Chapter 5: The Mausoleum Chapter 6: The Temple of Artemis at Ephesus Chapter 7: The Colossus of Rhodes Chapter 8: The Pharos of Alexandria Chapter 9: Rebuilding the Wonders

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Book SynopsisThis unique collection of essays and images explores a series of objects in the Royal Collection as a means of assessing the interrelated histories of the British royal family and the Shakespearean afterlife across four centuries. Between the beginning of the eighteenth century and the late twentieth, Shakespeare became entrenched as the English national poet. Over the same period, the monarchy sought repeatedly to demonstrate its centrality to British nationhood. By way of close analysis of a selection of objects from the Royal Collection, this volume argues that the royal family and the Shakespearean afterlife were far more closely interwoven than has previously been realized. The chapters map the mutual development over time of the relationship between members of the British royal family and Shakespeare, demonstrating the extent to which each has gained sustained value from association with the other and showing how members of the royal family have individually and collectively cons

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Book SynopsisHow do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting.The arts direct us to intimate and particularized relationships - with the people represented in the works, or with those we imagine produced them. When we listen to music or look at a purely abstract painting, or when we drink a glass of wine, can we enjoy the experience without verbalizing our response? Do our interpretative assumptions, our awareness of technique, and our attitudes to fantasy, get in the way of our appreciation of art, or enhance it? As the book examines these questions and more, we discover how curiosity drives us to enjoy narratives, ordinary jokes, metaphors, and modernist epiphanies, and how narrative in all the arts can order and provoke intense enjoyment. Pleasurable inTable of ContentsIntroduction ; 1. Jokes, Poems, Understanding ; 2. Emotions and Narrative ; 3. Beyond Words: Sensation, Abstraction, and Form ; 4. Specificity, Fantasy, and Critique

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Book SynopsisThe analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art? Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp''s ready-mades and as continuing beyond the 1970s to include some of today''s contemporary art, is grounded in the notion that the artist''s ''idea'' is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, ''In conceptual art the idea of the concept is the most important aspect of the work . . . and the execution is a perfunctory affair''. Given this so-called ''dematerialization'' of the art object, the emphasis onTrade ReviewA healthy corrective to limited discussion can be had in Philosophy and Conceptual Art...many of the essays are illuminating and sophisticated...These artists smartly articulate a symbiosis or thorough melding of making and thinking, artistic practice and discursive critique. * Kirk E. Pillow MIND *Table of ContentsI. CONCEPTUAL ART AS A KIND OF ART; II. CONCEPTUAL ART AND AESTHETIC VALUE; III. CONCEPTUAL ART, KNOWLEDGE AND UNDERSTANDING; IV. APPRECIATING CONCEPTUAL ART

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Book SynopsisHelio Oiticica (1937-80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. His unique melding of geometric abstraction with works that directly engage viewers' bodies has influenced contemporary artists from Gabriel Orozco and Cildo Meireles to Rirkrit Tiravanija and Nick Cave. This is the first book to examine Oiticica's impressive works against the backdrop of Brazil's dramatic postwar push for modernization. From Oiticica's late-'50s experiments with painting and color to his mid-'60s wearable Parangoles, Irene V. Small traces a series of artistic procedures that foreground his later inclusion of the spectator. Analyzing artworks and a wealth of archival material, she shows how Oiticica's work recast-in a sense folded-Brazil's utopian vision of progress and the legacy of European constructive art. Ultimately, Helio Oiticica argues that the effectiveness of Oiticica's participatory works stems not from a renunciation of art, but rather from their ability to dia

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Book SynopsisIn the early 1950s, Willem de Kooning's Woman I and subsequent paintings established him as a leading member of the abstract expressionist movement. His wildly impacted brushstrokes and heavily encrusted surfaces baffled most critics, who saw de Kooning's monstrous female image as violent, aggressive, and ultimately the product of a misogynistic mind. In the image-rich Willem de Kooning Nonstop, Rosalind E. Krauss counters this view with a radical rethinking of de Kooning's bold canvases and reveals his true artistic practices. Krauss demonstrates that contrary to popular conceptions of de Kooning as an artist who painted chaotically only to end a piece abruptly, he was in fact constantly reworking the same subject based on a compositional template. This template informed all of his art and included a three-part vertical structure; the projection of his male point of view into the painting or sculpture; and the near-universal inclusion of the female form, which was paired with her re-doubled projection onto his work. Krauss identifies these elements throughout de Kooning's oeuvre, even in his paintings of highways, boats, and landscapes: Woman is always there. A thought-provoking study by one of America's greatest art critics, Willem de Kooning Nonstop revolutionizes our understanding of de Kooning and shows us what has always been hiding in plain sight in his work.

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Book SynopsisArtists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-Francois Lyotard, Jean Baudrillard, and Andy Warhol.Table of ContentsList of Illustrations Acknowledgments Introduction: What We Have Inherited Pt. I: Studies in Avant-Garde Art 1: Setting the Stage: Arthur Danto's Reading of the Avant-Garde 2: Constructivism's Descartes 3: Constructivism's Utopian Game with Theory 4: Mondrian's Plato 5: John Cage Pt. 2: The Legacy of the Avant-Garde 6: Reading Arthur Danto's Theory 7: Reading Arthur Danto's Reading of the Object 8: Andy Warhol without Theory 9: The Uses of Theory in the Contemporary Artworld Notes Index

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Book SynopsisTrade Review“In this extraordinarily illuminating book, Klinger builds on a painstaking consideration of Richter’s artistic practice to derive a pragmatist theory of artistic form and of form’s ultimate purpose. In addition to its exciting philosophical and art historical interventions, Klinger’s analysis delineates a practical ethics of art-making that deserves to be read by anyone interested in the theory and practice of art in today’s crisis of world-sharing.” -- Whitney Davis, University of California at Berkeley “Theory of Form is a twofold triumph: it presents the most original study of Richter’s aesthetics in recent years, and it is also a groundbreaking contribution to theorizing contemporary art. Remarkably linking form to reaction, judgment, and transformation, it is essential reading for anyone interested in art’s capacity to profoundly touch us and to partake in shaping our world.” -- Amir Eshel, author of Poetic Thinking Today“Klinger’s Theory of Form combines astute philosophical thought with a fascinating close analysis of Richter’s practice, yielding a new understanding of historical time and contemporaneity. It raises the theory of form to another level – indeed, it makes one see how form in art ought to be thought today.” -- Rahel Villinger, author of Kant und die Imagination der Tiere (Kant and the Imagination of Animals)Table of ContentsI Response to a Contemporary Challenge II Morphological Question: Form as Reaction III Poetological Question: Form as Judgment IV Eschatological Question: Form as Transformation V Form as Paradigm? Acknowledgments Notes Index

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Book SynopsisThis text, first published in France in 1977, presents cultural critic Louis Marin's theories about the aims of painting in Europe in the 16th and 17th centuries. It explores a number of notions implied by theories of painting and offers insight into the aims and effects of visual representaion.Table of ContentsAcknowledgments Postscript in the Guise of an Introduction Key Texts Allegory: The Golden Bough or the Theory of Mimesis Questions, Hypotheses, Discourse Readings Denegation The Arcadian Landscape On Nominal Sentences, Fragments, Epitaphs, and Epigraphs A Letter, a Shadow, and an Interpretive Key Theoretical and Methodological Introduction An Analytic Strategy and a Mythical Ruse The Portrait in the Convex Mirror The Medusa Head as Historical Painting Psychoanalytic Interlude Of Light, Shadows, and Narrative Et in arca hoc Notes Works Cited Index

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Book SynopsisIn 1934, New York's Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. This title tells the story of this extraordinarily popular but controversial show.

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Book SynopsisIn the 1970s, Manhattan's west side waterfront was a forgotten zone of abandoned warehouses and piers. Though many saw only blight, the derelict neighborhood was alive with queer people forging new intimacies through cruising. Alongside the piers' sexual and social worlds, artists produced work attesting to the radical transformations taking place in New York. Artist and writer David Wojnarowicz was right in the heart of it, documenting his experiences in journal entries, poems, photographs, films, and large-scale, site-specific projects. In Cruising the Dead River, Fiona Anderson draws on Wojnarowicz's work to explore the key role the abandoned landscape played in this explosion of queer culture. Anderson examines how the riverfront's ruined buildings assumed a powerful erotic role and gave the area a distinct identity. By telling the story of the piers as gentrification swept New York and before the AIDS crisis, Anderson unearths the buried histories of violence, regeneration, and LG

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Book SynopsisJean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France.Trade Review"The catalog contains important new documentary information, and the entries cast clear light on both the works exhibited as well as related versions throughout the world. The show is an extraordinary achievement; it makes a contribution of permanent value to the study of a very great artist." - Andrew Butterfield, New York Review of Books; "The essays detail Houdon's artistic development and provide insights into his working methods and his relationships with his subjects, a group that included Moliere, Diderot, Voltaire, Franklin, and Napoleon. In 1783, a critic said of Houdon's portrait busts of contemporary celebrities: 'M. Houdon lacks only the means to make his portraits speak, since, as for likeness, he lacks nothing.'" - New York Times Book Review; "It's often said that there's no such thing as a perfect exhibition.... But it must be said that if there is one, this is it. Poulet has obtained just about every significant Houdon sculpture extant, winnowing the selection carefully to secure the version closest to the artist's hand and eliminating lesser ones, pirated casts, and outright fakes. The catalog is a feat of comprehensive and scrupulous research as well as an enthralling exercise in connoisseurship. Taken together, they give us the definitive portrait of Houdon - a speaking likeness, as it were." - Eric Gibson, New Criterion"

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Book SynopsisTrade Review“Despite her many notebooks, she left behind no personal diaries, and we know little about her thoughts beyond her art and spiritualist interests. Voss does a good job of filling in the gaps with detective work and speculation, although in places the conditional does a lot of heavy lifting. Her biggest achievement is to establish a context for af Klint’s work, upending popular assumptions that she was a mystical outsider who floated free of her historical and social milieu.” * London Review of Books *“Voss has produced an extraordinarily rich portrait of a radically unusual, but not eccentric, modern artist. . . . Voss’s biography makes af Klint so much more than an artist simply to be inserted into a more gender-inclusive canon of ‘abstract art’. It saves af Klint from art history while sending us deeper into her world. Reading it was a revelation, and it has changed my understanding of the artist, the woman, and her times.” * Literary Review *"It would be easy, in our rationalist times, to think of af Klint as a kook. One of the many praiseworthy things about Julia Voss’s excellent new biography of her is that it does not even entertain the thought." * Times Literary Supplement *"The woman who emerges in Voss's exacting portrait is strong-willed, purposeful, and confident—ahead of her time and perhaps ours too. What's interesting, the author suggests, isn't that af Klint, in a century awash with spiritual fads, heard voices. It's that, as far as her genius was concerned, those voices weren't wrong." * Observer (UK) *"Julia Voss’s biography of Af Klint is the first full life of the painter and shows her growth from working in the traditional genres of portraiture and landscape into far more radical fields. She explains not just Af Klint’s beliefs, but her relations with the occultist and reformer Rudolf Steiner and her efforts to exhibit some of her work to fellow spiritualists. Af Klint thought of her paintings as dictations from the astral plane. Voss’s scholarship shows how remarkable the woman was who transcribed them." * New Statesman *"[A] pioneering biography. . . . Voss marshals as much of the personal detail as the painter’s surviving notes would divulge and has filled out an account that will surely remain the standard for years to come." * Art Newspaper *"Julia Voss’s dazzling and timely biography of Hilma af Klint explores not only the life of this extraordinary artist but highlights the important contributions of both mysticism and women artists—so long excluded from the art-historical canon—to the story of modern art. I couldn’t put it down." -- Jennifer Higgie"Julia Voss’s biography is the indispensable resource for anyone interested in pioneering artist Hilma af Klint. With her thousands of pages of notebooks in Swedish, af Klint remained beyond the reach of scholars without the ability to read Swedish. By mastering Swedish and doing superb archival research on af Klint and the women around her, Voss reveals a Hilma we did not know, including a gender fluidity that underlies many of her motifs. Voss has also recovered the cosmopolitan culture of Stockholm in this period—from art exhibitions and science expositions to the robust interest in spiritualism that parallels that in Berlin. Written in lively prose, Voss’s book is a pleasure to read in the translation by Anne Posten." -- Linda Henderson, University of Texas at Austin"A fascinating book on the exhilarating life and work of Hilma af Klint. Julia Voss has been instrumental in bringing her story to the forefront and tells her life with such sensitivity, generosity, and insight. A must read!" -- Katy Hessel, author of The Story of Art without Men"As well as shining a light on an exceptional talent, this book provides a rare window on the struggle of a woman artist to find a new language in a world where idealism was fading fast." * World of Interiors *"A rich and illuminating portrait of the artist." * Air Mail *Table of ContentsA Note from the Translator Chronology Introduction Part I. Family, Childhood, and Youth in Stockholm 1. Mary Wollstonecraft Visits Sweden and Is Upset 2. Birth 3. School and Religion 4. An Exhibition in London 5. Bertha Valerius and the Dead 6. Kerstin Cardon’s Painting School 7. Hermina’s Death Part II. Study at the Academy and Independent Work 1. The Academy 2. Guardian Spirit 3. The Prize 4. Anna Cassel 5. “My First Experience with Mediumship” 6. The Young Artist 7. Dr. Helleday and Love 8. The Five 9. Art from the Orient 10. Rose and Cross 11. At the Veterinary Institute 12. Children’s Books and Decorative Art 13. Italy 14. Genius Part III. Paintings for the Temple 1. Old Images 2. Revolution 3. Primordial Chaos 4. Eros 5. Medium 6. The Ten Largest 7. “I Was the Instrument of Ecstasy” 8. Rudolf Steiner Visits Sweden 9. The Young Ones 10. Sigrid Lancén 11. The Association of Swedish Women Artists 12. Frank Heyman 13. Island Kingdom in Mälaren 14. First Exhibition with the Theosophists 15. Tree of Knowledge 16. The Kiss 17. Singoalla 18. The Baltic Exhibition 19. War 20. Saint George 21. Kandinsky in Stockholm 22. Parsifal and Atom 23. The Studio on Munsö 24. Thomasine Anderson Part IV. Dornach, Amsterdam, and London 1. The Suitcase Museum 2. Flowers, Mosses, and Lichens 3. First Visit to the Goetheanum 4. “Belongs to the Astral World According to Doctor Steiner” 5. The Fire and the Letter 6. Amsterdam 7. London Part V. Temple and Later Years 1. The Temple and the Spiral 2. +x 3. A Temple in New York 4. The London Blitz 5. Future Woman 6. National Socialism 7. Lecture in Stockholm 8. “Degenerate” Art in Germany and Abstract Art in New York 9. Tyra Kleen and the Plan for a Museum 10 Last Months 11. Conclusion Afterword by Johan af Klint Afterword by Ulrika af Klint Appendix 1. Hilma af Klint’s Travels and Places of Residence Appendix 2. The Library of Hilma af Klint Acknowledgments Illustration Sources Notes Bibliography Index

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Book SynopsisTrade Review“A delightful and immersive guide to the city of Rome and the philosophical tradition it embodies concerning the good life, or as we would say today, the meaning of life. Travelers seeking ancient wisdom among the city’s famous buildings and works of art could ask for no better companion.” * Donald Robertson, author of 'How to Think Like a Roman Emperor' *“I have been a Roman for over half a century, but I’ll be sure to use Samuelson’s Guide the next time I visit my native city. I will look at it quite differently!” * Massimo Pigliucci, author of 'How to Be a Stoic' *“Rome as a Guide to the Good Life immerses us in glorious works of art and architecture. But in Rome, every aspect of life, from Raphael to food to gesticulation, is an art. Rather than guiding us through the labyrinth of the city’s streets, Samuelson guides us through the labyrinth of life, more daunting than any streetscape.” * Ingrid D. Rowland, author of 'Giordano Bruno' and 'The Collector of Lives' *“In this elegantly written book, Samuelson takes us by the elbow and leads us to his favorite places and works of art in the Eternal City, spinning stories about their history, pointing out their beauties and contradictions, and reflecting on their philosophical meanings. Whether you travel to Rome with this book as your guide, or read it from the comfort of an armchair, Samuelson teaches us ancient lessons that can enrich our modern lives.” * Lori Erickson, author of 'Holy Rover,' 'Near the Exit,' and 'The Soul of the Family Tree' *"A stimulating, thoroughly readable mix. . . For the seasoned Romanist as well as a first-time visitor, this is an excellent vade mecum for our times. All will read it with profit and enlightenment: it will certainly accompany my next trip." -- Sir Michael Fallon * Classics for All *"A breezy and eclectic tour of the Eternal City in which [Samuelson] introduces readers to both physical and philosophical delights.” * WORLD *"The book stands out in its dual appreciation for Rome as a locus for the sweet life and the life of the mind. . . . The author’s wit, enthusiasm, and willingness to turn his head and squint his eyes while looking at what seemingly has been picked over by centuries of cicerones makes reading Rome as a Guide like being on the most engaging of walking tours." * ClassicalEd Review *"As he leads us through the city, Samuelson introduces the largest philosophical questions and shares what the legacy of Roman culture has to teach us by way of answer. The result is an erudite guide to the city’s heritage that offers eloquent instruction on how to conduct ourselves and make meaning in the face of life’s enduring uncertainties.”​ -- James Mustich * In the Company of Books newsletter *Table of ContentsIntroduction: Philosophy as a Guide to la Dolce Vita I Build Not Thereon 1 Die on Your Journey: The Question of Rosa Bathurst’s Tombstone 2 Build on Tragedy: The Humility of Caravaggio’s David with the Head of Goliath 3 Put Down Roots in the Uprooted: The Piety of Bernini’s Aeneas, Anchises, and Ascanius II Remember Death 4 Be Not for Yourself Alone: Cicero in the Ruins of the Forum 5 Take the View from Above: Marcus Aurelius in the Saddle III Reap the Day 6 Conquer Your Fear: Lucretius versus the Roman Triumph 7 Dare to Be Wise: Horace’s View of the City IV Love and Do What You Will 8 Hold Humanity Sacred: Seneca or Augustine versus the Colosseum 9 Crash through the Floor: The Mysteries of the Basilica of San Clemente 10 Make a Golden Ass of Yourself: The Metamorphoses in Agostino Chiti’s Villa V Make a Palace of Your Memory 11 Be the Conversation: The Philosophy of Raphael’s School of Athens 12 Unlock the Soul in Your Soul: Giordano Bruno in the Campo de’ Fiori Conclusion: What Resists Time Is What’s Ever Flowing Acknowledgments Appendix: Rome by Way of the Winged Eye Notes Index

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Book SynopsisThrough archival work and storytelling, Musical Migration and Imperial New York revises many inherited narratives about experimental music and art in postwar New York. From the urban street level of music clubs and arts institutions to the world-making routes of global migration and exchange, this book redraws the map of experimental art to reveal the imperial dynamics and citizenship struggles that continue to shape music in the United States. Beginning with the material conditions of power that structured the cityscape of New York in the early Cold War years, Brigid Cohen looks at a wide range of artistic practices (concert music, electronic music, jazz, performance art) and actors (Edgard Varèse, Charles Mingus, Yoko Ono, and Fluxus founder George Maciunas) as they experimented with new modes of creativity. Cohen links them with other migrant creators vital to the city's postwar culture boom, creators whose stories have seldom been told (Halim El-Dabh, Michiko Toyama, VladimirTrade Review“This is a field-changing book. Cohen calls to account many legends about experimental music in New York and strips away the heroic storytelling of the past to reveal uncomfortable truths about the racial and imperial underpinnings of modern music in the United States. In Cohen’s study, hard-to-find and fragmentary sources are brought to light in ways that change what we know. The readings of music and sound are deeply illuminating, sometimes breathtaking, in their revelations and in their surprising connections with biographical detail.” * Danielle Fosler-Lussier, Ohio State University *“In Musical Migration and Imperial New York, we witness a scholar working at the height of her powers. Through this expansive and novel history, we watch fascinating yet understudied actors play out their imperialist and technological fantasies on an urban landscape marked by racial and gendered differences. After reckoning with Cohen’s reenvisioning, scholars of twentieth-century music, art, and urban life will have to rethink the New York City they thought they knew.” * Ryan Dohoney, Northwestern University *“Conventional approaches to experimental music tend to overemphasize the idea of ‘musical genius’ and often lead to problematic exceptionalist narratives. In Musical Migration and Imperial New York, Cohen sidesteps this problem by focusing on the ways in which experimental artists as aesthetically and ideologically varied as Charles Mingus, Vladimir Ussachevsky, or Yoko Ono mediated conversations about belonging at the intersection of external geopolitical power plays and internal assimilation. Cohen’s acutely tuned ear and brilliant prose guide us through the rich and thrilling experience of listening to the physiognomic overtones of citizenship, migration, and empire-building as they shaped the development of experimental art and music scenes in Cold War New York City.” * Alejandro L. Madrid, Cornell University *"Cohen masterfully marshals alternative sources including rare tapes, interviews and interpretations of official recordings. The result is a work of scholarship that not only pays long overdue attention to artists like Toyama and El-Dabh but changes the terms by which we encounter major figures like Mingus and Ono." * The Wire *"Cohen, a professor in NYU’s Department of Music, illuminates the contributions of these artists—many of them underappreciated—through the venues where their creations were displayed, performed, and composed. Some of these sites have similar purposes today, while others offer only architectural whispers of the history made there more than a half century ago." * NYU News *"In Musical Migration and Imperial New York, Cohen demonstrates the ways in which musical actors have negotiated their entanglements with power—power of the political elite, to be sure, but also the soft power of those working behind the scenes to finance, create, preserve, and subvert artistic movements in the shadow of the United States’ rapidly expanding empire. . . I believe this text will be embraced by scholars of contemporary/experimental/avant-garde music and will also be of great interest to anyone curious about migration, imperialism, Cold War politics, totalitarianism, performance art, postwar technology, or citizenship. In short, this densely woven and comprehensively researched book is a welcome addition to our field and to those of our cross-disciplinary collaborators." * Journal of American Musicology Society *"Chance encounters, indeterminacy, dissonance, electronic sounds and non-western tunings: any and all of these are distinctive sonic markers of the twentieth-century American experimental musical tradition. However, as Brigid Cohen persuasively argues in her new book, baked into this so-called 'new music' were traces of a Cold War politics of empire distinct to the United States and, even more specifically, to New York City. . . . The effect is revelatory, placing the book in dialogue not just with new studies of ethnicity and experimental music but with histories of the mind sciences and the wartime development of area studies as well." * Gotham Center for New York City History *Table of ContentsList of Figures Introduction: A Recent History of Music, Citizenship, and American Empire 1. Third Space, Scene of Subjection: Mingus and Varèse at Greenwich House 2. Cold War Acropolis I: Ussachevsky, the Rockefeller Foundation, and the CPEMC 3. Cold War Acropolis II: Toyama and El-Dabh at the CPEMC 4. A Counter-Discourse of Orientalism: Ono in Opera 5. The Haunting of Empires: Maciunas, Fluxus, and the Bloodlands 6. Concluding Thoughts Acknowledgments Notes Archival Sources Bibliography Index

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Book SynopsisA brisk and entertaining (Wall Street Journal) journey into the mystery behind why the forbidden fruit became an apple, upending an explanation that stood for centuries. How did the apple, unmentioned by the Bible, become the dominant symbol of temptation, sin, and the Fall? Temptation Transformed pursues this mystery across art and religious history, uncovering where, when, and why the forbidden fruit became an apple. Azzan Yadin-Israel reveals that Eden's fruit, once thought to be a fig or a grape, first appears as an apple in twelfth-century French art. He then traces this image back to its source in medieval storytelling. Though scholars often blame theologians for the apple, accounts of the Fall written in commonly spoken languagesFrench, German, and Englishinfluenced a broader audience than cloistered Latin commentators. Azzan Yadin-Israel shows that, over time, the words for fruit in these languages narrowed until an apple in the Garden became self-evident. A wide-ranging study of early Christian thought, Renaissance art, and medieval languages, Temptation Transformed offers an eye-opening revisionist history of a central religious icon.Trade Review"A brisk and entertaining investigation into the cultural history of Adam and Eve’s comestible catastrophe . . . [with a] sly sense of humor that peeks through refreshingly cant-free prose. Temptation Transformed is easy to follow for any curious amateur who enjoys getting to the bottom of a puzzle. By the end, Mr. Yadin-Israel at least has exonerated the apple; the serpent might present a more difficult task.” * Wall Street Journal *“[A] scrumptiously scholarly morsel of a book . . . In addition to being a philological detective story, Temptation Transformed is a kind of miniature coffee-table book, employing forty-two images of Fall of Man art to chart the transformation from grape and fig (and a few other fruits) to apple . . . Yadin-Israel is a master of philological and iconographic detective work, and the joy of this beautiful little book is in following his reasoning as he thinks through words (in a daunting number of languages) and images.” * Jewish Review of Books *"[A] delightfully readable study . . . tracing the apple iconography from its roots in 12th-century France. In fewer than 100 pages, with ample illustrations, Yadin-Israel builds a compelling argument around the convergence of textual evidence, semantic shifts, and the visual arts in medieval Europe.” * The Christian Century *“Temptation Transformed is a serious study of a biblical topic, which should appeal primarily to biblical scholars.” * Washington Jewish Week *“So what at first seemed like a simple question — where did that apple come from? — becomes a complicated story of changes across time and space as Jewish families adjust to the Christian world around them, and Jews and Christians alike adjust to changes in language, theology, and geography.” * Jewish Standard *"An accessible, well-argued, well-researched book and a testament to the power of interdisciplinary work to clarify age-old conundrums . . . A must-read for those interested in the mechanisms by which religious ideas and iconography develop . . . [and] for those interested in the history of Jewish and Christian biblical interpretation, especially of Genesis 3. . . [and] a gift to art lovers everywhere." * Reading Religion *A Best Medieval Book of 2023 * Medievalists.net *"Meticulously researched and engagingly written, this study yields more fascinating discoveries per page than anything I have read in years." * Religious Studies Review *“If Genesis speaks only of the forbidden ‘fruit,’ how and when did that fruit become an apple? To answer, Yadin-Israel leads us from Genesis to the Song of Songs, through an iconographic survey worthy of Erwin Panofsky, into medieval languages, and even a brief history of apples in ancient and modern horticulture. This visual and literary masterpiece will serve as a methodological guide for future research, but its ultimate subject is nothing less than the pictorial representation of human sinfulness and the hope for redemption.” -- James Kugel, author of 'The Bible as It Was'“A fascinating cornucopia of insights from language, literature, and art history, Temptation Transformed offers the tantalizing fruit of rigorous textual and iconographic research into the identification of the forbidden fruit. Yadin-Israel provides compelling evidence for a new understanding of the development of the apple tradition in medieval France. I will use his historical insights every time I teach Genesis.” -- John H. Walton, author of 'The Lost World of Adam and Eve'“Temptation Transformed traces the rise of the forbidden fruit across centuries—from ancient Hebrew manuscripts to wall paintings and more. This is an engaging and beautiful book.” -- Miri Rubin, author of 'Mother of God: A History of the Virgin Mary'Table of ContentsList of Illustrations Introduction: The Curious Case of the Apple 1 The Missing Apple 2 A Bad Latin Apple 3 The Iconographic Apple 4 The Vernacular Apple Conclusion: A Scholarly Reflection Acknowledgments Appendix: Inventory of Fall of Man Scenes Abbreviations Notes Bibliography Index

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Book SynopsisThe agency of photographs is a recurrent concern within the context of the city. Whether found in architectural records, social documentary, photojournalism, or artistic practice, photographic objects are embedded in urban contestation, aesthetically charged by artists, reinserted into social histories, and mobilized to imagine a future city. Photogenic Montreal takes a question initially posed by heritage debates what does photography preserve? and creates a rich conversation about the agency of the human actors before and behind the camera, and of the medium itself.The interplay of archives and activisms structures the book. Photographs that appear to be sealed off in newspapers, storage rooms, or archives accrue new meaning when they cross the threshold back into social spaces and circulate anew. It is through the reactivation of archival photographs that submerged traces of urban experience are discovered, and alternate histories of Montreal can be recounted. MultTrade Review"Photogenic Montreal is remarkable for its novelty of theoretical approach, meticulous argumentation, and erudition. Circulating amidst this scholarship are the no less remarkable voices of photographers and artists who provide informed and unnostalgic perspectives and new insights into works with historical importance, however recently they may have been created. With its careful selection and beautiful reproduction of illustrations, the book is a must-read for scholars, students, and all inquiring minds." Lise Lamarche, Université de Montréal"Post-industrial Montreal has engendered countless photographic representations of itself, which have in turn shaped the city's sense of its own changing urbanity. The delightful essays in Photogenic Montreal synthesize the competing activist and archival impulses behind the photographic practices they explore. With its city-centric approach, the volume makes an important, Montreal-focused contribution to the study of architecture, photography, and the city." Peter Sealy, University of Toronto

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Book SynopsisThe history of an aesthetic sensibility that began with Op Art and album covers; with more than seventy-five stunning color images.This eye-popping book offers a visual history of the psychedelic sensibility. In pop culture, that sensibility is associated with lava lamps, album covers, and teashades, but it first manifested itself in the extreme colors and kaleidoscopic compositions of 1960s Op Artists. The psychedelic sensibility didn't die at the end of the 1960s; Psychedelic traces it through the day-glo colors of painters Peter Saul, Alex Grey, and Kenny Scharf, the pill and hemp leaf paintings of Fred Tomaselli, the intensified palettes of Douglas Bourgeois and Sharon Ellis, and mixed-media and new media works by younger artists in the new millennium.Although the term psychedelic was coined to describe hallucinatory experiences produced by drugs used psychotherapeutically, the story these images tell is about the influence of psychedelic culture on the art

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Book SynopsisHow design collaboration, networks, and narratives contributed to the establishment of a recognized English couture industry in the 1930s and 1940s.In the 1930s and 1940s, English fashion houses, spurred by economic and wartime crises, put London on the map as a major fashion city. In this book, Michelle Jones examines the creation of a London-based couture industry during these years, exploring how designer collaboration and the construction of specific networks and narratives supported and shaped the English fashion economy. Haute couture—the practice of creative made-to-measure womenswear—was widely regarded as inherently French. Jones shows how an English version emerged during a period of economic turbulence, when a group of designers banded together in a collective effort to shift power within the international fashion system. Jones considers the establishment of this form of English design practice, analyzing the commercial, social, and po

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Book SynopsisAn ingenious reconstruction?and revealing analysis through ?visual archaeology??of avant-garde artist Kazimir Malevich''s lost arkhitektons.Among the Russian avant-garde artist Kazimir Malevich?s most intriguing works, the arkhitektons are also the most enigmatic, as these quasi-architectural sculptures made between 1920 and 1930 were almost entirely lost, along with many of the accompanying drawings, or planits. In The Additional Element in Architecture, Pedro Ignacio Alonso and Paulina Bitraìn bring Malevich?s elusive arkhitektons to startling, three-dimensional life and show how these objects form a comprehensive universe that embodies the artist?s Suprematism?his belief in the supremacy of pure artistic sensation in abstraction. The book features digital reconstructions of 15 arkhitektons and planits that are lost in their original physical form. Using a method they call visual archaeology, Alonso and Bitraìn explore how these structures figure in Malevich?s investigations of spatial form. In the authors? view, the arkhitektons and planits constitute a series of changing configurations, or ?states,? rather than fixed or closed monolithic sculptures that can be reckoned with individually. They are provisional assemblages of prismatic volumes linked only by gravity and equilibrium?ephemeral arrangements that digital modeling exposes and opens to new analysis. Along with its illustrations and analysis of the ingeniously recreated arkhitektons and planits, Alonso and Bitrán provide historiographical notes on the different appearances of these models, as well as a critical consideration of how Malevich?s own conception of the ?additional element? might place these beguiling figures within a wider history of modern architecture.

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Book SynopsisExamines the social roles, cultural meanings, and active agency of precious stones in jeweled crowns, illustrated lapidaries, and illustrated travel accounts in the European Middle Ages.Trade Review“Brigitte Buettner’s groundbreaking study marshals gem-encrusted jewels, lapidary knowledge, and medieval travelers’ accounts to forge a multifaceted understanding of the power of precious stones in medieval art and culture. Richly illustrated with uncommon images, The Mineral and the Visual is exciting and compelling, illuminating the intersection of geologic and artistic worlds, and the social meanings of precious stones, acquired from near and far, in the European Middle Ages.”—Mariah Proctor-Tiffany caa.reviews“The way the author combines stones with ideas . . . and the economics behind them over a longer period of time is innovative, and based on a richness in sources that is as dazzling as the medieval artworks discussed themselves.”—Sigrid van Roode Bedouin Silver“The author’s profound expertise and fresh methodological approach offer an important stimulus to further discussions and will doubtlessly inspire future research on the material world of the Middle Ages.”—Melanie N. Reiter Sehepunkte“The Mineral and the Visual meticulously reinstates the marvelousness of medieval gemstones, rendering them potent, pulsing, and alive, and authoritatively sets the terms for future scholarship.”—Joseph Salvatore Ackley Speculum“Buettner opens up perspectives for future research that go far beyond a secular interpretative horizon of pure materiality and natural knowledge—an excellent complement to Gemma spiritalis.”—Gia Toussaint 21: Inquiries into Art, History, and the Visual“Reading The Mineral and the Visual made me feel like a student again, filled with curiosity and excitement. This book is rich, interesting, complex, refreshing.”—Elina Gertsman,author of The Absent Image: Lacunae in Medieval Books“The Mineral and the Visual offers readers a rich and compelling journey through the world of medieval minerals. Of interest to specialists and nonspecialists alike, it advances theoretical and methodological discussions of materials and materiality and expands our ideas about stones, gems, and the natural world. Weaving together a vast array of sources, both textual and visual, Buettner’s study presents a new understanding of the field of discourse in which these fascinating objects operated.”—Heidi Gearhart,author of Theophilus and the Theory and Practice of Medieval Art“Buettner weaves together scintillating description, meticulous scholarship, and current theory to create an unrivaled picture of her subject. She makes the case that gems are the apex of materials: substances that are active, global, exotic (and paradisaical), kingly, and in all ways powerful.”—Cynthia Hahn,author of Strange Beauty: Issues in the Making and Meaning of Reliquaries, 400-circa 1204

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Book SynopsisAn innovative examination of encounters between humans and lions and representations of these charismatic animals in the visual culture of postrevolutionary FranceTrade Review“A brilliant but also sobering analysis of the images produced by and around a ‘man-made ecological disaster.’ It is also an intensely personal book.”—Tom Stammers, APOLLO“Extraordinarily well-researched and a deeply engrossing read, Myth and Menagerie moves across textual and visual artifacts with great fluency, bringing readers as close as possible to the once-living lions who inspired the book.”—Natania Meeker, University of Southern California“Hornstein accords lions the dignity, empathy, and respect that they were habitually denied in the period and have rarely received in historical scholarship. Myth and Menagerie is an achievement for its originality and the depth with which it examines lion-human interactions.”—David O’Brien, author of Exiled in Modernity: Delacroix, Civilization, and Barbarism

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Book SynopsisThrough the lens of Aleksandr Rodchenko’s photography, a new and provocative understanding emerges of the troubled relationship between technology, modernism, and state power in Stalin’s Soviet UnionTrade Review“Glebova’s book is a valuable addition to the literature on this remarkable and always relevant figure.”—Peter Lowe, Russian Art + Culture“Glebova’s painstaking analysis reveals a more complex side to [Rodchenko’s] work. . . . An unflinching focus on the far more opaque and challenging work Rodchenko undertook in the dark years of the 1930s.”—Rosamund Bartlett, Literary ReviewCo-winner of the MSA 1st Book Prize, sponsored by the Modernist Studies Association“Glebova’s perspicacious and eloquent readings of Rodchenko’s works make new, and make much richer, his body of work.”—Kristin Romberg, University of Illinois at Urbana-Champaign“This is the most important book on Rodchenko, and an indispensable book to Russian art history, to the history of photography, and to the story of how modern art intersects with life and how artists practice their politics.”—Andrei Pop, University of Chicago

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Book SynopsisThe first book to consider the importance of commercial art and design for Ed Ruscha’s workTrade Review“Ruscha has captured the zeitgeist of American culture for decades, and Jennifer Quick helps us understand that an essential part of his talent for representing the popular, the spectacular, and the alluring is connected to his lifelong fascination with design.”—David Brody, Parsons School of Design, The New School“Jennifer Quick’s approach is timely and compelling, given the high profile of design in contemporary culture, but it is her close reading of Ruscha’s complex play with materials and form that ultimately make this such a rewarding account of his art.”—Ken D. Allan, Seattle University

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Book SynopsisThe revelation of a misidentified face in a photograph—once thought to be Vincent, now known to be Theo van Gogh—leads to a novelesque story of revised art historyTrade Review“Solves the mystery of Van Gogh’s lost harmonium portrait”—Martin Bailey, Art Newspaper

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Book SynopsisThis third volume of the catalogue raisonné of Ed Ruscha’s works on paper documents more than 1,000 works created between 1998 and 2018

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Book SynopsisThe first major publication devoted to weaver and designer Dorothy Liebes, reinstating her as one of the most influential American designers of the twentieth centuryTrade Review“[Dorothy Liebes] has all the elements of a 20th-century design legend, but she isn’t a household name yet. This exhibition, and its handsome accompanying monograph, will surely change that.”—Sarah Archer, T List (newsletter, New York Times T Magazine)“Textile designer Dorothy Liebes emphasized tactility, luminousness, and contrast by combining natural and synthetic fibers in neon shades. . . . [This] book, with essays by seven experts and a comprehensive biographical timeline, accompanies a Liebes retrospective. . . . Ms. Liebes, although underappreciated now, practically blanketed the world with products while battling corporate misogyny. Factories adapted her handwoven samples for mass-market clothing and furnishings, and she lined mansions and offices with sumptuous one-offs.”—Eve M. Kahn, New York Times“Enclosed in a dark green, cloth-covered case binding with an electric lime-colored serif font and aqua-teal end papers (a nod to Liebes’s penchant for analogous colors), a generous selection of lush, full-page close-ups display her weavings in tremendous detail. . . . With thorough and caring scholarship and curation, A Dark, A Light, A Bright feels like a love letter to the path-forging designer.”—Julie Schneider, Hyperallergic

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Book SynopsisAn innovative examination of sixteenth-century Netherlandish drawing against the backdrop of the urban economic boom, the Protestant Reformation, and the Eighty Years’ War

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Book SynopsisA lively and thought-provoking tour of the intertwined histories of art and walkingTrade Review“Readers embark on a promenade – arranged chronologically, it’s a walk, rather than a waltz, through time. It is perfectly suited to flicking – literary flâneurism, if you will.” —Grace McCloud, World of Interiors“Deftly organized and superbly illustrated, The Art of Walking communicates its ideas and enthusiasms with infectious passion and in elegant prose.”—Matthew Beaumont, author of The Walker: On Finding and Losing Oneself in the Modern City“Daring, erudite, and thoughtful, The Art of Walking is an important book for anyone who loves not only to walk but to think about the role that walking plays across wildly different times and places in history.”—Lauren Elkin, author of Flâneuse: Women Walk the City

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Book SynopsisA collection of illustrated essays highlights the works of influential Black artists from Washington, DC, from the 1920s to the present

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