The arts: general topics Books

Book Synopsis New from the animator and illustrator behind your favorite DreamWorks and Netflix films, the next installment of the Framed series will help creators design a world that comes to life. Framed Environment Design presents the artwork, wisdom, and philosophies behind designing environments for film, animation, graphic novels, and illustration so that they serve a narrative purpose and become part of the story. With informed methodology and special care for the smallest details, environment design can inspire script visualization, making it come alive in meaningful ways?together with the characters?as part of the same actions and emotions. From historical epic to futuristic architecture, and natural environments to fantasy scenarios, in this newest addition to his best-selling Framed series, Mateu-Mestre illuminates the full process in great detail. Starting with the early research stages and thought process all the way to the final design?employing hundreds of carefully created and never-before-seen illustrations and sketches?the reader can not only follow the detailed explanations but actually make sense of them through an incredible array of visual ideas and solutions.

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Book SynopsisTHE NEW YORK TIMES BESTSELLERA WATERSTONES BEST BOOK OF 2023BARNES & NOBLE''S BEST SCIENCE & NATURE BOOKS OF 2023The arts can deliver potent, accessible and proven solutions for the wellbeing of everyone. In this book, Magsamen and Ross offer compelling research that shows how engaging in an art project for as little as forty-five minutes reduces the stress hormone cortisol and just one art experience per month can extend your life by ten years. This can be anything from painting and dancing to expressive writing, architecture and more - no matter your skill level. Your Brain on Art is an authoritative guide to how neuroaesthetics can help us transform traditional healing, build healthier communities and mend an aching planet.

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Book SynopsisCovering various aspects of the visual arts, this book includes more than 1,000 images of art. It is suitable for the art enthusiasts.Trade Review'A revelatory volume … Aimed at the teenager and foundation-year student, it still holds plenty of surprises for the old hand' - The Times'It will send neophyte and aficionado alike out into our museums and galleries afresh' - The Times'Packed with information and looks good on the shelf too' - Homes & AntiquesTable of ContentsHow to Use this Book * Gateway Features * Introduction Part 1: Fundamentals 1.1 Art in Two Dimensions: Line, Shape and the Principle of Contrast * 1.2 Three-Dimensional Art: Form, Volume, Mass and Texture * 1.3 Implied Depth: Value and Space * 1.4 Colour * 1.5 Time and Motion * 1.6 Unity, Variety and Balance * 1.7 Scale and Proportion * 1.8 Emphasis and Focal Point * 1.9 Pattern and Rhythm * 1.10 Content and Analysis Part 2: Media and Processes 2.1 Drawing * 2.2 Painting * 2.3 Printmaking * 2.4 Visual Communication Design * 2.5 Photography * 2.6 Film/Video and Digital Art * 2.7 Alternative media and processes * 2.8 The Tradition of Craft * 2.9 Sculpture * 2.10 Architecture Part 3: History 3.1. The Prehistoric and Ancient Mediterranean * 3.2. Art of the Middle Ages * 3.3. Art of India, China and Japan * 3.4 Art of the Americas * 3.5 Art of Africa and the Pacific Islands * 3.6 Art of Renaissance and Baroque Europe (1400 - 1750) * 3.7 Art of Europe and America (1700 - 1900) 3.8 Twentieth and Twenty-First Centuries: The Age of Global Art Part 4: Themes 4.1. Art and Community * 4.2 Spirituality and Art * 4.3 Art and the Cycle of Life * 4.4 Art and Science * 4.5 Art and Illusion * 4.6 Art and Rulers * 4.7 Art and War * 4.8 Art and Social Conscience * 4.9 The Body in Art * 4.10 Art and Gender * 4.11 Expression Glossary * Further Reading * Sources of Quotations * Illustration Credits * Acknowledgments * Index

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Book SynopsisThis irresistible chunky box of postcards features a vibrant selection of 100 different oversized colour chips from Pantone, the world colour authority.

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Book SynopsisPerspective is a discipline often set aside when it comes to general art study, though it is essential to master in order to produce any piece of art that is and feels realistic. Framed Perspective 1 equips artists with the technical knowledge needed to produce successful visual storytelling-related drawings: from understanding the basics of the space around us and how we perceive it, all the way to more sophisticated endeavors, like creating entire locations that will become the believable set ups our characters and stories will happen within. As intimidating as perspective may seem, best-selling author and artist Marcos Mateu-Mestre delivers each lesson in an accessible and informative way that takes the mystery out of achieving successful scenes. The book includes extensive step-by-step practical explanations of how to build objects and environments of all sorts, taking that first sketch to a fully rendered artwork with many of his finished illustrations as examples. Sure to be the most popular book in your art library, it will train you to see the world in a way that allows you to enjoy every curve and slope you see in it and, more importantly, translate that vision into art with accuracy and a great sense and understanding of depth and proportion. Your perspective will never be the same!

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Book SynopsisTo explore the Tarot is to explore ourselves, to be reminded of the universality of our longing for meaning, for purpose and for a connection to the divine. This 600-year-old tradition reflects not only a history of seekers, but our journey of artistic expression and the ways we communicate our collective human story. For many in the West, Tarot exists in the shadow place of our cultural consciousness, a metaphysical tradition assigned to the dusty glass cabinets of the arcane. Its history, long and obscure, has been passed down through secret writing, oral tradition, and the scholarly tomes of philosophers and sages. Hundreds of years and hundreds of creative hands—mystics and artists often working in collaboration—have transformed what was essentially a parlor game into a source of divination and system of self-exploration, as each new generation has sought to evolve the form and reinterpret the medium. Author Jessica Hundley traces this fascinating history in Tarot, the debut volume in TASCHEN’s Library of Esoterica series. The book explores the symbolic meaning behind more than 500 cards and works of original art, two thirds of which have never been published outside of the decks themselves. It's the first ever visual compendium of its kind, spanning from Medieval to modern, and artfully arranged according to the sequencing of the 78 cards of the Major and Minor Arcana. It explores the powerful influence of Tarot as muse to artists like Salvador Dalí and Niki de Saint Phalle and includes the decks of nearly 100 diverse contemporary artists from around the world, all of whom have embraced the medium for its capacity to push cultural identity forward. Rounding out the volume are excerpts from thinkers such as Éliphas Lévi, Carl Jung, and Joseph Campbell; a foreword by artist Penny Slinger; a guide to reading the cards by Johannes Fiebig; and an essay on oracle decks by Marcella Kroll.Trade Review“The ‘Library of Esoterica’ acts as a bridge between the dark halls of history and the vast data at our fingertips.” * Los Angeles Times *“Spiritual or not, it’s a beauty for the coffee table.” * gq-magazine.co.uk *“An exceptional selection of artist card images.” * ft.com *“For those fascinated with the occult, but wary of dabbling, this gorgeous art book on tarot may be the answer.” * thetimes.co.uk *“This book reminds us of our eternal and universal search for meaning, purpose, and the divine.” * itsnicethat.com *“Even skeptics can appreciate the artistry that’s gone into these artifacts.” * mentalfloss.com *“Jessica Hundley traces the fascinating history behind the occult tradition of tarot, which has served as a source of artistic expression and self-exploration for over 600 years.” * dazeddigital.com *“Combining historical timelines, scholarly insight, philosophical readings and an in-depth dissection of the symbolism of each card, it provides a crash course in cartomancy.” * Elephant *“This wonderful volume weds erudition and killer visuals – it’s a beautifully illustrated and completely fascinating study of tarot.” * Tatler *

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Book SynopsisIn this book, Michel Lauricella presents both his artistic and systematic methods for drawing the human body--with drawing techniques from the corch (showing the musculature underneath the skin) to sketches of models in action. In more than 1000 illustrations, the human body is shown from a new perspective--from bone structure to musculature, fro

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Book SynopsisArguing in favour of renewed critical attention to the 'nation' as a category in art history, this study examines the intertwining of art theory, national identity and art production in Britain from the early eighteenth century to the present day. The book provides the first sustained account of artwriting in the British context over the full extent of its development and includes new analyses of such central figures as Hogarth, Reynolds, Gilpin, Ruskin, Roger Fry, Herbert Read, Art & Language, Peter Fuller and Rasheed Araeen. Mark A. Cheetham also explores how the 'Englishing' of art theory-which came about despite the longstanding occlusion of the intellectual and theoretical in British culture-did not take place or have effects exclusively in Britain. Theory has always travelled with art and vice versa. Using the frequently resurgent discourse of cosmopolitanism as a frame for his discourse, Cheetham asks whether English traditions of artwriting have been judged inappropriately aTrade Review'In this revisionist and superbly erudite study, Mark Cheetham rigorously articulates the implicit theoretical armature of English artwriting, revealing the unacknowledged play of national and transnational themes in a body of discourse and criticism that typically attempts to obscure its conceptual and political commitments. The "imperial empiricism" that Cheetham detects among English artists and critics - from William Hogarth and Joshua Reynolds to Clive Bell, Roger Fry and beyond - emerges from the shadows with great clarity. It will no longer be possible to imagine that the English art world of the last three hundred years maintained an insular independence from concepts of "theory" that it imagined as foreign and continental.' Gary Shapiro, University of Richmond, USA '... the book is filled with surprising observations and telling juxtapositions. Most important for the field, I suspect, will be a greater attentiveness to the vocabulary of English artwriting and a greater circumspection when the key terms in Cheetham‘s title arise.' Journal of Art Historiography 'Considering art-writing, national identity and the visual arts in Britain since 1700, Cheetham engages in a stimulating discussion of how those discourses have changed along with the meaning ascribed to nation but also as opposed to the shifting meanings of cosmopolitan and cosmopolitanism.' The Eighth Lamp: Ruskin Studies TodayTable of ContentsContents: Introduction: Artwriting and national identity (or, no theory please, we're English); Englishness, foreignness, and Empire in British artwriting, c. 1700-1900; Indigenes, imports, and exports: Englishness in artwriting from modernism to the 21st century; Bibliography; Index.

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Book SynopsisA new interest in the study of early modern ritual, ceremony, formations of personal and collective identities, social roles, and the production of meaning inside and outside the arts have made it possible to talk today about a performative turn in the humanities. In Performativity and Performance in Baroque Rome, scholars from different fields of research explore performative aspects of Baroque culture. With examples from the politics of diplomacy and everyday life, from theatre, music and ritual as well as from architecture, painting and sculpture the contributors demonstrate how broadly the concept of performativity has been adopted within different disciplines.Table of ContentsContents: Introduction: by the tomb of St Genesius, Peter Gillgren and Mårten Snickare; Part I A Performative Society: Varieties of performance in 17th-century Italy, Peter Burke; Diplomatic performances and the applied arts in 17th-century Europe, Martin Olin; CorpoReality: Queen Christina of Sweden and the embodiment of sovereignty, Camilla Kandare; How to do things with the piazza San Pietro: performativity and baroque architecture, Mårten Snickare. Part II Performances and Audiences: Transforming spectators into viri perculsi: Baroque theatre as machinery for producing affects, Erika Fischer-Lichte; Angels or sirens? Questions of performance and reception in Roman church music around 1650, Lars Berglund; The Quarant 'Ore: early modern ritual and performativity, Nils Holger Petersen. Part III Performativity and Interpretation: Allegories of Eros: Caravaggio's masque, Genevieve Warwick; Una dolcissima estasi: performing The Visitation by Frederico Barocci, Peter Gillgren; The apparition of faith: the performative meaning of Gian Lorenzo Bernini's decoration for the Cornaro chapel, Margarethe Rossholm Lagerlöf; Performativity in Michelangelo's Last Judgment, Giovanni Careri. Part IV Postscript: Baroque rhetoric: the methodology, David Carrier; Bibliography; Index.

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Book SynopsisCompelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like 'negative' and 'positive' that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-siècle photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works ranginTrade Review’This excellent volume exemplifies the increasing sophistication of scholarship around issues of the representation of race, particularly in the nineteenth century. High art, popular art and popular performance involving Africans are analysed with due regard to the complexities of European racial attitudes in an age of commercialism and empire.’ David Bindman, Hutchins Center at Harvard University, USA and author of Ape to Apollo: Aesthetics and the Idea of Race in the Eighteenth Century ’It is exciting to see scholars continue to probe the question of how visual arts of the West reflect the reactions to the experiences of Africans in the diaspora. The manner in which Europeans viewed and represented blacks in art is tied to the larger questions of power, cultural and political domination and exchange, along with an ever evolving influential aesthetics of difference. This well written volume of enlightening essays is a major contribution to the literature on race and representation as it broadens our understanding of the extent to which the dynamics of race has colored the history of art in Europe in many ways. Even though this volume focuses on European art, there are important contributions to the history of art relating to African Americans who created art in Europe in the nineteenth century. The discussions of slavery, Orientalism, photography and modernism in this book bring fresh perspectives to the subject of blackness in Europe. This volume is a must read for all who wish to advance their knowledge of a much neglected subject in American and European art history.’ David C. Driskell, Distinguished University Professor of Art Emeritus, University of Maryland, College Park, USA'Blacks and Blackness in European Art of the Long Nineteenth Century assembles studies on a wide range of subjects that, taken together, reveal not just the relevance of images of “blacks” and “blackness” to studies of the nineteenth century, but constitute a compelling argument for how integral an awareness of the issues raised by those images should be to any account of the art of the period.' CAA ReviewsTable of ContentsContents: Introduction: figuring blackness in Europe, Adrienne L. Childs and Susan H. Libby; The color of Frenchness: racial identity and visuality in French anti-slavery imagery, 1788-94, Susan H. Libby; US and THEM: Camper’s odious ligne faciale and Géricault’s beseeching black, Albert Alhadeff; ’A mulatto sculptor from New Orleans’: Eugène Warburg in Europe, 1853-59, Paul H.D. Kaplan; Ira Aldridge as Othello in James Northcote’s Manchester portrait, Earnestine Jenkins; Exceeding blackness: African women in the art of Jean-Léon Gérôme, Adrienne L. Childs; Visualizing racial antics in late 19th-century France, James Smalls; Staging ethnicity: Edvard Munch’s images of Sultan Abdul Karim, Allison W. Chang; Race and beauty in black and white: Robert Demachy and the aestheticization of blackness in pictorialist photography, Wendy A. Grossman; Selected bibliography; Index.

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Book SynopsisPrints changed the history of art, even as that history was first being written. In this study, Sharon Gregory argues that this reality was not lost on Vasari; she shows that, contrary to common opinion, prints thoroughly pervade Vasari''s history of art, just as they pervade his own career as an artist. This volume examines Giorgio Vasari''s interest, as an art historian and as an artist, in engravings and woodblock prints, shedding new light not only on aspects of Vasari''s career, but also on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective. Investigating how prints were themselves more often interpretive than strictly reproductive, Gregory challenges the long-held view that Vasari''s reliance on prints led to errors in his interpretation of major monuments. She demonstrates how, like Raphael and later artists, Vasari used engravings after his designs as a form of advertisement tTrade ReviewPrize: Honorable Mention for the IFPDA Book Award, 2013 A Yankee Book Peddler US Core Title for 2012 Highly Commended: SRS Book Prize 2014 '... an exemplary piece of scholarship, deeply considered and scrupulously documented, that will be of interest to curators and historians and literary scholars alike. The first focus here concerns the many uses Vasari made of the prints both for his own artistic production and then for the accounts of those artists included in his text The Lives whose work he knew from evidence such as this. But Gregory also lays out here a fascinating and carefully grounded account of the dissemination of visual materials in this first moment of printing and the ways prints could become a vital part of the larger culture. It is rare to find a study on these subjects that is so sure of its details yet manages also to move beyond them to offer original insights and conclusions.' David Cast, Bryn Mawr College; author of The Delight of Art: Giorgio Vasari and the Traditions of Humanist Discourse 'This well-researched and well-structured book examines a number of different aspects of its subject... This very welcome book opens up many perspectives beyond its immediate subject.' The Burlington Magazine '... an ordinary reader with a passing knowledge of Italian Renaissance art will find much of interest in this new book... these essays form a clear, well-sourced analysis of the role of prints in the Renaissance artist’s studio.' The Art Newspaper 'This clearly written, well-researched, and intelligently structured book will remain a fundamental point of reference for all those interested in the history of printmaking as well as in Vasari’s fundamental contribution to art history.' Renaissance Quarterly '[Gregory's] very wide-ranging and clearly written text is a valuable source of evidence and ideas for anyone interested in theVite, or for the use of prints in Renaissance workshops.' Print Quarterly 'Throughout Vasari and the Renaissance Print the author displays an admirable depth of knowledge with fascinating statistics, such as ... the history of prints, Vasari, Florentine history, and print culture in early modern Europe.' Sixteenth Century Studies Journal 'The book is the product of many years of serious scholarship and is exactly the sort of work that justifies what academics do in opening up the archive for others to understand and use and which makes being part of the profession a pleasure.' Society for Renaissance Studies 'Mit ihrer klaren Gliederung, der umfassenden Aufarbeitung historischer Quellen und den zahlreichen brillanten Abbildungen ist diese Studie nicht nur ein grosser Gewinn fur das Studium der Renaissancedruckgrafik, sondern uberdies zu weiten Teilen vergnuglich und flussig zu lesen.' SehepunkteTable of ContentsContents: Preface; Introduction; Vasari and the history of printmaking; Vasari and the illustrated book; Vasari's use of prints as aides-mémoires; Prints in the artist's workshop; Vasari, prints and imitation; Prints after Vasari's designs; Appendix; Bibliography; Index.

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Book SynopsisAnalysing the decorative programmes of the most opulent European palaces of the time, Margaretha Rossholm Lagerlöf investigates how meaning was conveyed through display and visual effects. She explores the visual meaning inherent in the scheme of spatial relations; in effects of scale, perspective, lighting, figures'' positions and postures; and in relations among image types. The analysis concerns the interrelations of various kinds of images in the ensembles; the relations between images and physical site; and the address to the beholder. Lagerlöf considers the visual impact of the imagery in conjunction with ''readable'' or symbolically ''coded'' meanings; thus, the study does not merely subject these decorations to formalist aesthetic principles. She shows the visual meaning generally to sustain the verbal or readable messages, but often in subtle ways, extending or elaborating the meaning. Occasionally, the visual meaning comes forth as an undercurrent or complication, deviating fTrade Review'...Significant and original ... Lagerlöf assembles here a group of monuments from France, Rome, and Stockholm, which allows for a synchronic interpretation and reading of significant issues of visuality and content across power regimes and the long time period of the Baroque style in Europe ... it is the first comprehensive examination in the history of art of these galleries, and as such makes an important scholarly contribution from which others may draw further conclusions.' Catherine M. Soussloff, University of British Columbia, Canada 'Four words featured in the title of this book-fate, glory, love, and power-are among the most salient concerns of the Baroque period. Margaretha Rossholn Lagerlöf's book examines their manifestations in the spectacular cycles decorating the representative architectural spaces of sovereignty.' Sixteenth Century Journal 'Lagerlöf ... brings these places to thought-provoking life.' Seventeenth-Century News 'Lagerlöf deserves praise for being the first to study gallery decorations as a separate genre developing through time, with a focus on the establishment of traditions ...' Renaissance QuarterlyTable of ContentsContents: Introduction; La Galerie de François 1er at Fontainebleau (1530-1539) - the balance of fortune; The Galleria Farnese in Rome (1597-1600): knowing the human passions; La Galerie des Glaces at Versailles (1678-1684): omnipotence in reflection; Karl XI’s gallery in Stockholm (1694-1702): Nordic light; Final discussion: the four cases as configurations of meaning; Bibliography; Index.

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Book SynopsisThe first in-depth study of the Utrecht artist to address questions beyond connoisseurship and attribution, this book makes a significant contribution to Ter Brugghen and Northern Caravaggist studies. Focusing on the Dutch master''s simultaneous use of Northern archaisms with Caravaggio''s motifs and style, Natasha Seaman nuances our understanding of Ter Brugghen''s appropriations from the Italian painter. Her analysis centers on four paintings, all depicting New Testament subjects. They include Ter Brugghen''s largest and first known signed work (Crowning with Thorns), his most archaizing (the Crucifixion), and the two paintings most directly related to the works of Caravaggio (the Doubting Thomas and the Calling of Matthew). By examining the ways in which Ter Brugghen''s paintings deliberately diverge from Caravaggio''s, Seaman sheds new light on the Utrecht artist and his work. For example, she demonstrates that where Caravaggio''s paintings are boldly illusionistic and mimetiTrade Review'In essence, Natasha Seaman's valuable book is the first comprehensive study of the fascinating religious art of Hendrick ter Brugghen that is not principally concerned with questions of connoisseurship. Seaman approaches ter Brugghen's paintings in terms of his dynamic engagement with the art of Caravaggio and that of earlier Northern European masters. In the process, she provides a much-needed corrective to the traditional view that the Dutch master was simply "borrowing" motifs and imagery that interested him.' Wayne Franits, Syracuse University, USA '... this study is a groundbreaking analysis of this artist... Highly recommended.' Choice 'We know very little about Hendrik ter Brugghen. Although his oeuvre has been well described by Benedict Nicolson and, recently, Leonard J. Slatkes and Wayne Franits, the question of how he arrived at his idiosyncratic style and iconography has hardly been addressed. Several seasoned art historians have advanced theories about his enigmatic blend of Caravaggism and archaism, but Seaman is the first to devote a complete book to the cultural and artistic context of his work. She focuses on four major religious paintings made between 1620 and 1625, when the archaic tendencies in Ter Brugghen’s art were most powerful and his engagement with Caravaggio’s art was most explicit... What is most important, and the book makes this abundantly clear, is that Ter Brugghen was very ambitious in his attempts to renew religious painting.' Burlington Magazine 'Seaman discusses each [of the paintings] with exceptional clarity, historical depth and acute awareness of the theological cross-currents that pervaded both post-reformation Utrecht, and the artist himself, described by one contemporary as ’a man of profound but melancholy thoughts’.' Art & Christianity '... The Religious Paintings of Hendrick ter Brugghen is a most welcome contribution to the field. A glowingly intelligent and original piece of scholarship, it is the first book to treat the two defining elements of Ter Brugghen's art, Caravaggism and archaism with the seriousness that they require, and one that goes a long way to making sense of them.' Historians of Netherlandish Art 'Natasha Seaman does a great service in bringing to the fore the role of overt archaism in early seventeenth-century Dutch religious painting for Catholic audiences.' Renaissance Quarterly 'Seaman's charting of Ter Brugghen's archaisms is excellent, and the numerous illustrations in this book clarify the inherently visual nature of her argument.' Sixteenth-Century Studies JournalTable of ContentsContents: Introduction: art after iconoclasm: Hendrick ter Brugghen and the material image; A Dutch painter in Italy: the attraction and critique of Caravaggio; Archaism and the material image in Rome; An Italianate artist in Utrecht: art and archaism within and without the hidden church; Materiality and the presence of the past in Hendrick ter Brugghen's Crucifixion; Icon, narrative, and iconoclasm in the Crowning with Thorns; The theology of conversion in the Doubting Thomas and Calling of Matthew; Conclusion: moving past materiality: The Denial of Peter; Bibliography; Index.

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Book SynopsisImpeccably researched and richly detailed, this book addresses the issue of translation between visual arts and landscape design in the 50 more years career of Patricia Johanson, an important artist in the second half of the twentieth-century. Examining the artist's search for an art of the real as a member of the post-World War II New York art world, and how such pursuit has led her from painting and sculpture to public garden and environmental art, Xin Wu argues for the significance of the process of art creation, challenging the centrality of art objects. This book is an insightful study to confront a crucial question in the history of art through the work of a contemporary artist. It therefore converses with art historians and critics alike, as well as advanced readers of twentieth-century art. Following Johanson''s artistic development, from its formation in the 1960s American art scene to the very present day, across the fields of art, architecture, garden, civil engineering andTrade Review'... a meaningful contribution to the artist’s oeuvre that provides insight into her creative impact on public environmental art. This work would make a great addition to academic libraries that collect materials related to garden history, earthworks, or Johanson’s work as an artist.' ARLIS/NA Reviews '... a welcome and timely addition to the literature of landscape design.' Studio International 'Xin Wu’s recent study of Johanson explores the artist’s work as negotiating between these multiple fields as well as meriting consideration within art historical chronologies. For Wu, Johanson’s art constitutes a new-and relevant-form of contemporary public art practice.' Journal of American CultureTable of ContentsContents: Introduction; Transformation: from painting to sculpture, 1958-1968; The invention of form: House & Garden commission, 1969; Translating the order of nature; Garden metamorphoses, 1975-1985; Functionality into public place; ’The garden of art’ in garden-cities; Conclusion; Bibliography; Index.

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Book SynopsisThe face of the divine feminine can be found everywhere in Mexico. One of the most striking features of Mexican religious life is the prevalence of images of the Virgin Mother of God. This is partly because the divine feminine played such a prominent role in pre-Hispanic Mexican religion. Goddess images were central to the devotional life of the Aztecs, especially peasants and those living in villages outside the central city of Tenochtitlan (present day Mexico City). In these rural communities fertility and fecundity, more than war rituals and sacrificial tribute, were the main focus of cultic activity. Both Aztec goddesses and the Christian Madonnas who replaced them were associated, and sometimes identified, with nature and the environment: the earth, water, trees and other sources of creativity and vitality. This book uncovers the myths and images of 22 Aztec Goddesses and 28 Christian Madonnas of Mexico. Their rich and symbolic meaning is revealed by placing them in the conTrade Review’This book insightfully places the myths and images of goddesses and madonnas in their cultural contexts. We are in the authors' debt for assembling these scattered pieces so we might imagine a complex tapestry .The clash of symbols and cultures between the Europeans and the conquered peoples was both violent and subjugating. Yet the hybridization of these wildly different cultural images points a way to a present retrieval of the feminine sacred in our fractured world.’ Terrence W. Tilley, Fordham University, USA '... this is not a typical spiritual journey to the goddess book. Preliminary chapters detail the multiple motifs of the goddess of pre-Hispanic Mexico from the beneficent fecundity to violent destruction, as well as the history and iconography of the Virgin Mary as victorious champion and compassionate mother... The volume is highlighted throughout with black-and-white and color illustrations, including many photographed by the authors. Summing Up: Recommended. Graduate students and above.' Choice 'Aztec Goddesses and Christian Madonnas is accessible, clearly written, and well organized. It is also lavishly illustrated, containing close to three dozen color plates and more than a hundred black-and-white images. It is a useful reference source for studies of the sacred female in medieval and early modern Catholic art as much as in Mesoamerican art and ritual.' CAA Reviews ’I applaud Kroger and Granziera on this work. This book will serve well as a textbook to introduce religious images and concepts in early Mexico, mythologies of goddesses from various parts of the world and how Madonnas have related historically with the various mythologies and cultural contexts in which they are found. This co-authored text confirms many thoughts I have held about the roles of goddesses and Madonnas in Mexico. Thankfully, this team has conducted both thorough and in-depth research in creating a beautiful and comprehensive book.’ Journal of the AmericanTable of ContentsContents: Introduction: the divine feminine; The Goddess in pre-Hispanic Mexico; The Mother of God in the Christian tradition; The Mexican encounter: from conflict to syncretism; Aztec goddess images; Christian Madonna images; Bibliography; Index.

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Book SynopsisThe first monograph on the Vita Humana cycle at Tre Fontane, this book includes an overview of the medieval history of the Roman Cistercian abbey and its architecture, as well as a consideration of the political and cultural standing of the abbey both within Papal Rome and within the Cistercian order. Furthermore, it considers the commission of the fresco cycle, the circumstances of its making, and its position within the art historical context of the Roman Duecento. Examining the unusual blend of images in the Vita Humana cycle, this study offers a more nuanced picture of the iconographic repertoire of medieval art. Since the discovery of the frescoes in the 1960s, the iconographic programme of the cycle has remained mysterious, and an adequate analysis of the Vita Humana cycle as a whole has so far been lacking. Kristin B. Aavitsland covers this gap in the scholarship on Roman art circa 1300, and also presents the first interpretative discussion of the frescoes that is up-to-date wiTrade Review'Overall, Aavitsland’s book is a tremendous contribution to the understudied subject of painting in medieval Rome. Ashgate is to be commended for this addition to their list of excellent recent titles exploring medieval Italy.' CAA Reviews 'The author brings an impressively wide range of iconographic comparative material to bear...' Burlington Magazine '... Aavitsland takes the scholarship of Roman Duecento to a new level, and one that shows great promise. ... Aavitsland has not merely provided us with a new and compelling understanding of a fresco program that has remained enigmatic among art historians for half a century, but she has also given late-duecento painting in Rome the broader artistic and intellectual context that it so often has been denied.' SpeculumTable of ContentsContents: Preface; Introduction: the Vita Humana cycle at the abbey of Tre Fontana; Part I Contexts: The settings of the Vita Humana cycle; Learning, piety and the rhetoric of images. Part II Analyses: Paradise lost; The man in the tree of life; The eagles; The fisherman; The wheel of senses and the ages of man; The harvest of fruit in the garden of life; Birds and cages; The Vita Humana cycle: a visual florilegium? Concluding remarks; Bibliography; Index.

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Book SynopsisRecurring to the governing idea of her 2005 study Shakespeare on the Edge, Lisa Hopkins expands the parameters of her investigation beyond England to include the Continent, and beyond Shakespeare to include a number of dramatists ranging from Christopher Marlowe to John Ford. Hopkins also expands her notion of liminality to explore not only geographical borders, but also the intersection of the material and the spiritual more generally, tracing the contours of the edge which each inhabits. Making a journey of its own by starting from the most literally liminal of physical structures, walls, and ending with the wholly invisible and intangible, the idea of the divine, this book plots the many and various ways in which, for the Renaissance imagination, metaphysical overtones accrued to the physically liminal.Table of ContentsContents: Introduction; Part I What is an Edge?: Walls: the edge of territory; Peter or Paul? The edge of the state. Part II The Edge of the Nation: Sex on the edge; ’Gate of Spain’: the southern edge of France; ’Pas de Calais’: the northern edge of France. Part III Invisible Edges: The edge of heaven; Jewels and the edge of the skin; The edge of the world. Conclusion; Works cited; Index.

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Book SynopsisFocusing on artists and architectural complexes which until now have eluded scholarly attention in English-language publications, Apostolic Iconography and Florentine Confraternities in the Age of Reform examines through their art programs three different confraternal organizations in Florence at a crucial moment in their histories. Each of the organizations that forms the basis for this study oversaw renovations that included decorative programs centered on the apostles. At the complex of Gesà Pellegrino a fresco cycle represents the apostles in their roles as Christâs disciples and proselytizers. At the oratory of the company of Santissima Annunziata a series of frescoes shows their martyrdoms, the terrible price the apostles paid for their mission and their faith. At the oratory of San Giovanni Battista detta dello Scalzo a sculptural program of the apostles stood as an example to each confratello of how Christian piety had its roots in collective effort. Douglas Dow shows thatTrade Review'This impressive volume by Dow ... helps fill a scholarly void in books on religious painting in the last quarter of the 16th century in Florence. ... The text is meticulous and scholarly, supported by copious notes, bibliography, and original illustrations appropriate to such an ambitious and groundbreaking study. ... Highly recommended. Upper-division undergraduates through researchers/faculty.’ Choice 'Dow's book uses a rich quantity of illustrations to make his point, both plans and reproductions of the frescoes and some of the statues ... Dow brings to light much detail regarding the confraternities' organisation and motivation in commissioning new works of art both as embellishment of the oratories and as education material for the confratelli.' Sehepunkte 'More than just a window onto a neglected field, it is a thorough, meticulous study based on archival research and stylistic analysis, in one case including a methodical reconstruction of a long-lost interior. It represents the kind of scholarship that has too often fallen by the wayside in an era when detail (and often accuracy) are neglected in favour of the big, interdisciplinary picture. Contributions such as Dow's are especially needed in places like post-Tridentine Florence, where the literature simply has not yet done the groundwork: we will not be able to see the big picture until we get our facts straight.' Burlington Magazine '... Dow focuses new attention on Florentine confraternal identification with the apostles at a time when the Church was asserting its own claims as a purified paleo- Christian institution. This exemplifies yet another dynamic way in which sodalities responded to and shaped the prevailing religious culture.' Renaissance Quarterly'This important, lucid, and elegantly written book is in part a product of the spatial and sensory turn that has driven much recent research. It will be of interest not only to art historians but also to scholars in other disciplines who are concerned with the process by which traditional forms of devotion, and the desired ends of Church reformers, converged and mingled with the city’s artisan culture and patronage relations. In a wider sense, Dow’s evocation of the resulting mélange, and his explication of how urban culture took visual and spatial form, teaches us more about how citizens, including non-elites, inhabited and negotiated the early modern European city.' CAA ReviewsTable of ContentsContents: Introduction; Alessandro de’ Medici and the Florentine archdiocese at the end of the cinquecento; ’Maledictus enim homo, qui opus Dei facit negligenter’: Giovanni Balducci’s frescoes of the Risen Christ and the Apostles in the church of Gesù Pellegrino; ’Essere amorevole della casa’: the sculptures of the Apostles in the oratory of San Giovanni Battista detta dello Scalzo; ’Far bene per i vivi, e morti’: the frescoes of the martyrdoms of the Apostles in the atrium of the oratory of Santissima Annunziata; Conclusion; Appendix; Bibliography; Index.

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Book SynopsisWith its first public live performance in Paris on 11 February 1896, Oscar Wilde''s Salomé took on female embodied form that signalled the start of ''her'' phenomenal journey through the history of the arts in the twentieth century. This volume explores Salome''s appropriation and reincarnation across the arts - not just Wilde''s heroine, nor Richard Strauss''s - but Salome as a cultural icon in fin-de-siècle society, whose appeal for ever new interpretations of the biblical story still endures today. Using Salome as a common starting point, each chapter suggests new ways in which performing bodies reveal alternative stories, narratives and perspectives and offer a range and breadth of source material and theoretical approaches. The first chapter draws on the field of comparative literature to investigate the inter-artistic interpretations of Salome in a period that straddles the end of the nineteenth century and the beginning of the Modernist era. This chapter sets the tone for theTrade Review'This book has the potential for a wide readership including academics and students as well as those interested in opera and ballet settings of plays. It offers a sociocultural and historic rereading of a seminal literary, musical, operatic, balletic, cinematic work that has changed the direction of the theater and theatrical works for film. It is successful in revealing how "corporeal performing bodies reveal alternative stories, narratives, perspectives".'NotesTable of ContentsContents: Introduction: performing Salome, revealing stories, Clair Rowden; Decadent senses: the dissemination of Oscar Wilde’s Salomé across the arts, Polina Dimova; Visions of Salome, visions of Wilde: critical readings of Oscar Wilde’s Salome in early 20th-century Vienna, Sandra Mayer; Whose/who’s Salome? Natalia Trouhanowa, a dancing diva, Clair Rowden; Salome’s slow dance with the Lord Chamberlain, London 1909-10, Anne Sivuoja-Kauppala; Seven veils, seven rooms, four walls and countless contexts, Hedda Høgåsen-Hallesby; The dirt on Salome, Caryl Clark; Outrageous Salome: grace and fury in Carmelo Bene’s Salomè and Ken Russell’s Salome’s Last Dance, Tristan Grünberg; Bibliography; Index.

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Book SynopsisDespite William Hunter's stature as one of the most important collectors and men of science of the eighteenth century, and the fact that his collection is the foundation of Scotland's oldest public museum, The Hunterian, until now there has been no comprehensive examination in a single volume of all his collections in their diversity. This volume restores Hunter to a rightful position of prominence among the medical men whose research and amassing of specimens transformed our understanding of the natural world and man's position within it. This volume comprises essays by international specialists and are as diverse as Hunter's collections themselves, dealing as they do with material that ranges from medical and scientific specimens, to painting, prints, books and manuscripts. The first sections focus upon Hunter's own collection and his response to it, while the final section contextualises Hunter within the wider sphere. A special feature of the volume is the inclusion of references Trade Review'The essays in William Hunter's World firmly establish their subject in the circle of outstanding figures of late Enlightenment society. In this volume, for the first time, physical evidence for the wide range of Hunter's scholarship is examined in depth through the holdings of his museum and library, to provide a remarkable compendium of his achievements and to signpost potential lines of research that will continue to consolidate the reputation of this major figure of the later eighteenth century.' Arthur Macgregor, Editor, Journal of the History of Collections 'The essays that comprise William Hunter's World: The Art and Science of Eighteenth-Century Collecting do justice to the remarkable subject of this important publication, both in their wide intellectual compass, and in their international scope. As the first in-depth examination of the massive collections amassed by Hunter as an Enlightenment physician and experimental naturalist whose curiosity coursed the whole of the natural world, as well as the global sweep of human culture, this volume leaves no doubt that he was one of the great modern thinkers of his age. The essayists demonstrate Hunter’s signal contributions to the transformation of a broad spectrum of fields, from obstetrics and human anatomy, to ethnography and zoology, while promoting the professional practice of the visual arts, both as a collector and patron, and as the first professor of anatomy at the Royal Academy. Most importantly, the authors point to the value of Hunter’s magnificent collections as an essential means by which to gain an understanding of his drive and accomplishments, opening new lines of investigation to be pursued in the holdings of the University of Glasgow, which constitute Hunter’s great legacy.' Amy Meyers, Director, Yale Center for British Art, USA"William Hunter’s world is an excellent demonstration of how the histories of art and science can be enriched through attention to their intertwined material cultures. Interesting themes to emerge include the idea of encounters and exchanges within the collection; Hunter’s use of objects for teaching and research; museum documentation and what it can tell us about the emergence, transformation or dying away of disciplines; and questions of privacy in an era when dissection was conducted in private but its products were placed on display. The title provides a solid foundation for future William Hunter studies."- Felicity Roberts, in Archives of Natural History, 2017Table of ContentsContents: Foreword, David Gaimster; Introduction, Mungo Campbell. Part I William Hunter: Developing his Museum: The Great Windmill Street Anatomy School and Museum, Helen McCormack; Anatomy and the ’museum oeconomy’: William and John Hunter as collectors, Simon Chaplin. Part II William Hunter: Anatomy in Practice: William Hunter’s sources of pathological and anatomical specimens, with particular reference to obstetric subjects, Stuart W. McDonald and John W. Faithfull; ’An universal language’: William Hunter and the production of The Anatomy of the Human Gravid Uterus, Caroline Grigson; The anatomist and the artists: Hunter’s involvement, Anne Dulau Beveridge; William Hunter’s anatomical and pathological specimens, Stuart W. McDonald. Part III William Hunter: Collector: Animal specimens in William Hunter’s anatomical collection, Stuart W. McDonald and Margaret Reilly; William Hunter’s zoological collections, Margaret Reilly; The shaping role of Johann Christian Fabricius: William Hunter’s insect collection and entomology in 18th-century London, E. Geoffrey Hancock; Dr John Fothergill: significant donor, Starr Douglas; The mineral collection of William Hunter: assembly and function, John W. Faithfull; A collection without a catalogue: Captain John Laskey and the missing vertebrate fossils from the collection of William Hunter, Jeff Liston; Archaeological objects in William Hunter’s collection, Sally-Anne Coupar; William Hunter’s parade shield: a memento of Leonardo’s Milan?, Martin Kemp; Ethnographic treasures in the Hunterian from Cook’s voyages, Adrienne L. Kaeppler; ’At last in Dr Hunter’s library’: William Hunter’s Chinese collections, Nick Pearce; William Hunter’s numismatic books, Donal Bateson; The ’Hunterian orchard’: William Hunter’s library, David Weston. Part IV William Hunter: The Wider World: On the way to the museum: Frederich The Great’s Bildergalerie in the park of Sanssouci in the context of other paint

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Book SynopsisLong obfuscated by modern definitions of historical evidence and art patronage, Lucrezia Tornabuoni deâ Mediciâs impact on the visual world of her time comes to light in this book, the first full-length scholarly argument for a lay womanâs contributions to the visual arts of fifteenth-century Florence. This focused investigation of the Medici familyâs domestic altarpiece, Filippo Lippiâs Adoration of the Christ Child, is broad in its ramifications. Mapping out the cultural network of gender, piety, and power in which Lippiâs painting was originally embedded, author Stefanie Solum challenges the received wisdom that women played little part in actively shaping visual culture during the Florentine Quattrocento. She uses visual evidence never before brought to bear on the topic to reveal that Lucrezia Tornabuoni - shrewd power-broker, pious poetess, and mother of the 'Magnificent' Lorenzo deâ Medici - also had a profound impact on the visual arts. Lucrezia emerges as a fascinating key tTrade Review'Solum presents a fresh, innovative interpretation of a familiar masterpiece by Filippo Lippi, illuminating our understanding of a series of related works. This erudite and lucid text offers a new paradigm for the definition of the nature of the artist-patron relationship, especially important for future work on female patronage.' Bruce Edelstein, New York University in Florence'Stefanie Solum opens this stimulating book by discussing a question fundamental for those interested in artistic patronage in Renaissance Florence: whether or not laywomen commissioned significant paintings, sculptures, or buildings in the city during the fifteenth century. ...Lucrezia certainly pursued a religious ideal embodied by the saints, exemplified in religious texts, and outlined in devotional literature. Solum’s ingenious utilization of such evidence yields a fascinating hypothesis concerning Lucrezia’s role in influencing the creation of a major fifteenth-century painting, as well as a reconstruction of her inner life of prayer and rich religious imagination.' CAA.ReviewsTable of ContentsContents: Preface; Introduction: Lucrezia Tornabuoni de' Medici and the power of female patronage in 15th-century Florence; Saving the Medici; Gendered histories: Lucrezia Tornabuoni’s spiritual activism; Choosing the Child Baptist: beyond a civic icon; From outside in: the Child Baptist, Lucrezia Tornabuoni, and the contemplative turn; Garden, forest, and mountain: navigating the Baptist’s wilderness in the Palazzo Medici Adoration; Lucrezia Tornabuoni, female piety, and the power of patronage; Works cited; Index.

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Book SynopsisThe work of mid-twentieth century art theorist Anton Ehrenzweig is explored in this original and timely study. An analysis of the dynamic and invigorating intellectual influences, institutional framework and legacy of his work, Between Art Practice and Psychoanalysis reveals the context within which Ehrenzweig worked, how that influenced him and those artists with whom he worked closely. Beth Williamson looks to the writing of Melanie Klein, Marion Milner, Adrian Stokes and others to elaborate Ehrenzweigâs theory of art, a theory that extends beyond the visual arts to music. In this first full-length study on his work, including an inventory of his library, previously unexamined archival material and unseen artworks sit at the heart of a book that examines Ehrenzweigâs working relationships with important British artists such as Bridget Riley, Eduardo Paolozzi and other members of the Independent Group in London in the 1950s and 1960s. In Ehrenzweigâs second book The Hidden Order of ArTrade Review'Between Art Practice and Psychoanalysis offers a much-needed introduction to the work of Anton Ehrenzweig. Williamson, who has researched her subject deeply, situates his writing in relation to Melanie Klein, Marion Milner and Adrian Stokes and draws out the importance of his collaborative relationship with the artist, Eduardo Paolozzi. Ehrenzweig’s influential book, The Hidden Order of Art, can now be read with far greater understanding, thanks to this excellent study.' Margaret Iversen, University of Essex'Between Art Practice and Psychoanalysis offers a much-needed introduction to the work of Anton Ehrenzweig. Williamson, who has researched her subject deeply, situates his writing in relation to Melanie Klein, Marion Milner and Adrian Stokes and draws out the importance of his collaborative relationship with the artist, Eduardo Paolozzi. Ehrenzweig’s influential book, The Hidden Order of Art, can now be read with far greater understanding, thanks to this excellent study.' Margaret Iversen, University of EssexTable of ContentsContents: Introduction: Art, death and creativity; Kleinian aesthetics: (devouring) this brutal world; Adrian Stokes and Kleinian art criticism; Marion Milner: dialogues between art and psychoanalysis; Eduardo Paolozzi: a different way of looking; On not being able to teach; Bridget Riley and the dynamics of perception; The Hidden Order of Art; Robert Smithson and Robert Morris: the hidden order of process art; Conclusion: art and creativity; Appendix; Bibliography; Index.

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Book SynopsisTrade Review"Very few books of this ilk give a real taste of or flavour for a place, but Paris by Design manages to do just that: creating a true guide to the city and the creative people who inhabit it for the design-savvy traveler." -- Actual Size"Designer Eva Jorgensen rounds up a stellar cew of creatives to answer questions about visiting Paris, and each person lists their fave under-the-radar bars, flea markets or shops" -- BookPage

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Book SynopsisTrade Review“Highlighting a collection of our most talented Black and Brown creatives to date, this book is a brilliant documentation of what is happening inside the artist studio. Jasmin insists that we pay attention because history is in the making, and We Are Here is the visual manifesto declaring that we are here to stay!” -- Amy Sherald * contemporary artist *“Here in vibrant photographs and the words of the artists, curators, gallerists, and cultural instigators themselves are profiles of 50 of today's vital creative forces—or 51, counting Jasmin Hernandez herself. They are indeed here, and we can all be grateful for it.” -- Thelma Golden * director and chief curator of The Studio Museum in Harlem *“A feast for the eyes and soul, Jasmin Hernandez has curated a mélange of visionary artists and creatives who are redefining contemporary art. And in doing so, she’s providing a necessary compendium that will awaken your senses, enlighten your mind, and nourish your spirit.” -- Steven Canals * Co-Creator & Executive Producer of FX's POSE *“A stunning collection of voices and visionaries, We Are Here is a delightful and deep discovery of artists we should get to know better.” -- Numa Perrier * artist and filmmaker *Flipping through Jasmin Hernandez's We Are Here is like going to an old school salon filled with the greatest artistic minds of a generation…This is a book and these are artists that everyone should have in their home immediately. -- Jeremy O. Harris * playwright *

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Book SynopsisPoetry lovers, Milton fans, and scholars of either will welcome, enjoy, and learn from this work.Table of ContentsIntroductionChapter 1. The Book of ElegiesChapter 2. The EpigramsChapter 3. The Book of the Woods

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Book SynopsisKate C. Hamilton, She 'Came up Stairs into the World:' Elizabeth Barry and Restoration Celebrity

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Book SynopsisThe powerful combination of pictures and stories of discovery will fascinate anyone interested in science, nature, wildlife biology, or photography.Trade ReviewA well illustrated introduction on the subject. The Birdbooker Report In this compelling book, biologist Roland Kays presents 600 remarkable camera-trap images and describes the scientific discoveries and conservation achievements that they have enabled...will particularly appeal to those who have felt the excitement of uploading footage to find that unexpected clip. BBC Wildlife Magazine Recommended. Lower-division undergraduates and professionals; general readers. Choice ... the coverage of rare and rarely seen species is impressive and the book could be an inspirational gift for anyone interested in natural history- especially if given together Royal Society of Biology Candid Creatures: How Camera Traps Reveal the Mysteries of Nature as a great contribution to the current wildlife literature, and I would recommend this book for anyone's personal library. Landscape Ecologist All the excitement of animal life is captures within the 261 large-sized full-color photographed pages. M.G. Paregian ... full of fabulous pictures of weird and wonderful creatures... [Candid Creatures is] loaded with information and carrys a strong conservation message. Conservation BiologyTable of ContentsAcknowledgmentsIntroductionTHE CRITTERSTigerAfrican LionLeopardSnow LeopardJaguarCougarClouded LeopardsCheetahBobcatChinese Mountain CatDomestic CatFlat-headed CatLeopard CatMarbled CatAfrican Golden CatJaguarundiOcelotFossaSpotted FanalokaRing-tailed VontsiraBroad-striped VontsiraServaline GenetMasked Palm CivetOtter CivetHose's CivetBanded CivetWolfCoyoteDingoDholeRed FoxBush DogShort-eared DogBlack BearBrown BearGiant PandaSpectacled BearSun BearWolverineFisherTayraMalay WeaselAfrican Bush ElephantAfrican Forest ElephantAsian ElephantBlack RhinoJavan RhinoBrazilian TapirMalayan TapirBearded PigPygmy HippopotamusGiant Sable AntelopeTamarawAsiatic Wild BuffaloAlpine IbexSouthern PudúWhite-tailed DeerChimpanzeeWestern GorillaBornean OrangutanGolden Snub-nosed MonkeyPig-tailed MacaqueAardvarkGiant ArmadilloGiant AnteaterGiant PangolinWombatTasmanian DevilSumatran Striped RabbitThomas's Flying SquirrelCommon Vampire BatSumatran Ground CuckooBlack CodANIMAL NEIGHBORHOOD WATCHChinese MountainsPanama Canal IslandsAustralian Rocky Reef FishRainforest CanopiesThe Wildlife of TokyoAmerica's Urban PredatorsThe Foggy, Forested Hills of YemenCattle and Wildlife in AfricaRocky Mountain TrailsAmerica's Hunting GroundsGaps in the Polish WoodsOil Palm PlantationsCAUGHT IN THE ACTHoles in the GroundWater HolesMovement CorridorsTreetop CorridorsRoad UnderpassesElectromatsFence Escape RoutesHighway Rope BridgesGlide PolesNest PredatorsNest ProtectorsCarcassesMineral LicksFruiting TreesBush versus ElephantBuried SeedsAnimal RobotsAnimal ModelsSurfing GenetFood on the RunMatingPoachersPhoto Credits and CitationsLiterature CitedIndex

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Book SynopsisThis captivating book-the first of its kind-will appeal to scholars of literature, music, theater, and modernity as well as to sophisticated opera lovers everywhere.Trade ReviewThe often-vexed societal reception of modernism and opera is foreboding testimony to the necessity for this book, which is the first collection of its kind... Essential. ChoiceTable of ContentsAcknowledgments Richard Begam and Matthew Wilson SmithIntroduction Part OneWorld War I and Before: Crises of Gender and Theatricality 1. Matthew Wilson Smith"Laughing at the Redeemer: Kundry and the Paradox of Parsifal" 2. Daniel Albright "Materlinck, Debussy and Modernism" 3. Klara Moricz "Echoes of the Self: Cosmic Loneliness in Bartok's Duke Bluebeard's Castle" Part TwoInterwar Modernism: Movement and Countermovement 4. Bryan Gilliam"The Great War and Its Aftermath: Straussand Hofmannthal's 'Third-Way Modernism'" 5. Bernadette Meyler "Adorno's Shifting Wozzeck" 6. Derek Katz"Many Modernisms, Two Makropulos Cases:Capek, Janacek and the Shifting Avant-Gardes of Inter-war Prague" 7. Richard Begam"Schoenberg, Modernism and Degeneracy" 8. Cyrena Pondrom"Gertrude Stein, Minimalism and Modern Opera" Part ThreeOpera after World War II: Tensions of Institutional Modernism 9. Herbert S. Lindenberger, "Stravinsky, Auden and the Mid-Century Modernism of The Rake's Progress" 10. Irene Morra " Gloriana and the New Elizabethan Age" 11. Linda and Michael Hutcheon"One Saint in Eight Tableaux: The Untimely Modernism of Olivier Messiaen's Saint Francois d'Assise" 12. Joy H. Calico" Saariaho's L'amour de loin: Modernist Opera in the Twenty-First Century" Notes on ContributorsIndex

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Book SynopsisHe considers the less visible yet pervasive impacts associated with the emergence of electronic technologies and sustainable development.Trade ReviewAn ambitious and intelligent book... Relph takes seriously the ideals and intentions of those who have created the urban landscapes in which most of us now live. He's not written a satire. Still, the story he's telling is heavy with irony. Never in the history of human hopes have so many high-minded men and women worked so hard, and dreamed so passionately, with such dubious results. The National Post Brings together urban history, urban form, public planning history, the literature of utopianism, and the architecture of cities in an intelligent, coherent, lively, and controversial portrayal of the evolution of the physical characteristics of Anglo-American urban environments since 1880. Landscape JournalTable of ContentsPreface to the 2016 EditionPrefaceChapter 1. IntroductionChapter 2. Looking Back at the Future: Late Twentieth-Century Landscapes in the 1890sChapter 3. Old Styles and New Forms in Architecture: 1880–1930Chapter 4. The Invention of Modern Town Planning: 1890–1940Chapter 5. Ordinary Landscapes of the First Machine Age: 1900–40Chapter 6. Modernism and Internationalism in Architecture: 1900–40Chapter 7. Landscapes in an Age of Illusions: 1930 to the Present Chapter 8. Planning the Segregated City: 1945–75Chapter 9. The Corporatisation of Cities 1945–Chapter 10. Modernist and Late-Modernist Architecture: 1945–Chapter 11. Post-Modernism in Planning and Architecture: 1970–Chapter 12. Modernist Cityscapes and Post-Modernist Townscapes Bibliography Index

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Book SynopsisCombining information from hitherto-untapped archival sources, extensive interviews, a thorough review of the secondary literature, and considerable personal experience, Post gives the reader a behind-the-scenes view of disputes among curators, academics, and stakeholders that were sometimes private and at other times burst into headline news.Trade ReviewPost's thoughtful elucidation of the exhibits and the ensuing controversies demonstrate the complexities of the environment in the national museum in the twentieth century. Further, this work documents the shifting priorities of the Smithsonian, revealing the many different actors that took part in the creation of both well-known exhibits and many smaller ones. The book also provides many interesting and important examples of the interconnections between historians of technology and the Smithsonian. This excellent work will be valuable to public historians as well as laypersons. Choice A pick for any collection strong in museum management and history. The result goes beyond a recommendation for arts holdings, examining how American history itself is documented and presented. Midwest Book Review A detailed insider's look at growth and change across the institution. The book offers a rich and readable intellectual biography of the Smithsonian. Journal of American History The Smithsonian finally gets its Washington insider-tells-all memoir. Who Owns America's Past? documents the value of the Smithsonian's distinctive culture-and also the way it has kept the institution from being all that it might be. The American Historian Weaves original primary source research, scholarly synthesis, and personal experiences into a highly readable study of the cultural history of America's most popular museum institution. -- Nick Sacco Museums and Social Issues Here is an eyewitness account of many of the personalities, controversies, artifacts, and interpretations that most of us know in their final, burnished form, upon the walls of the world's greatest history museum. Who Owns America's Past? is a needed book. American Historical Review This is an important book that examines the inner workings of the Smithsonian in ways that are both interesting and useful. There are no easy answers to the questions Post raises with this insightful text. Technology and Culture For readers curious about the upper stories and basement spaces beyond the exhibits, it provides access to decision makers and the collections they oversaw because the author regularly walked those spaces and conversed with their denizens... This book did not promise comprehensiveness or even an answer to the general question of 'who' or even 'what' defines history, but Post's account does provide a reminder that it is important to seek out the answer to that question in specific places because-particularly at one of the nation's most visible and influential institutions-it matters. -- Sally Kohlstedt Isis This is a most readable account written by an insider of a fascinating institution. The International Commitee for the Conservation of the Industrial HeritageTable of ContentsPrefaceAcknowledgmentsAbbreviations1. A Chain of Events Linking Past to Present2. Modernization3. A Worthy Home for National Treasures4. Allies and Critics5. To Join in a Smithsonian Renaissance6. A Special Kind of Insight7. The Winged Gospel8. Celebration or Education?9. A Crisis of Representation10. Small's World11. Timely and Relevant Themes and Methods of PresentationEPILOGUE What Is the Story?NotesIndex

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Book SynopsisA richly illustrated behind-the-scenes tour of how the nation's capital was built. In 1790, George Washington and Thomas Jefferson set out to build a new capital for the United States of America in just ten years. The area they selected on the banks of the Potomac River, a spot halfway between the northern and southern states, had few resources or inhabitants. Almost everything needed to build the federal city would have to be brought in, including materials, skilled workers, architects, and engineers. It was a daunting task, and these American Founding Fathers intended to do it without congressional appropriation. Robert J. Kapsch's beautifully illustrated book chronicles the early planning and construction of our nation's capital. It shows how Washington, DC, was meant to be not only a government center but a great commercial hub for the receipt and transshipment of goods arriving through the Potomac Canal, then under construction. Picturesque plans would not be enough; the endeaTrade ReviewRich in period detail thanks to Kapsch's extensive use of original documents, drawings and illustrations, and cost data for context, Building Washington is a fascinating look at the creation of the seat of our democracy.—Ray Bert, Civil EngineeringKapsch, a historian of engineering, focuses principally on the decades between the passage of the Residence Act of 1790, which selected the site for the new nation's capital, and the repair and reconstruction efforts that followed the burning of public buildings by British troops in 1814. The narrative centers on the transition from an eighteenth-century mode of construction led by "gentleman planters" to one orchestrated by professionally trained "architect-engineers." Along the way, Kapsch examines the supply chains, building techniques, financial expedients, and political wrangling that went into making the city.—David Schley, Journal of Southern HistoryBuilding Washington is a meticulously detailed account of the early construction of the capital city . . . The work will provide a treasure trove for research specialists in engineering and construction practices of the early republic and an informative reference work for enthusiastic Washingtonians.—Thomas J. Brown, University of South Carolina, Journal of American HistoryTable of ContentsTimelineAcknowledgmentsIntroductionPart I1. Pierre L’Enfant’s Two Plans for Executing the President’s Vision2. Financing the Federal City3. Constructing the Federal City4. Developing a Commercial Center5. Early Infrastructure and Transport Improvements6. Building Military Defenses for the CapitalPart II7. The First Public Building Campaign (1791-1802)8. The Second Public Building Campaign (1803-1811)9. The Third Public Building Campaign (1815-1824)10. Later Transportation ImprovementsEpilogueBibliographyIndex

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Book SynopsisOriginally published in 2003. In Public Markets and Civic Culture in Nineteenth-Century America Helen Tangires examines the role of the public marketplacesocial and architecturalas a key site in the development of civic culture in America. More than simply places for buying and selling food, Tangires explains, municipally owned and operated markets were the common ground where citizens and government struggled to define the shared values of the community. Public markets were vital to civic policy and reflected the profound belief in the moral economythe effort on the part of the municipality to maintain the social and political health of its community by regulating the ethics of trade in the urban marketplace for food. Tangires begins with the social, architectural, and regulatory components of the public market in the early republic, when cities embraced this ancient system of urban food distribution. By midcentury, the legalization of butcher shops in New York City and the incorporatTrade ReviewThis well-illustrated book raises the intriguing possibility that municipal markets worked more like the neoclassical ideal than the unregulated markets ideologues hail.—Keith D. Revell, Journal of American HistoryAn important and useful introduction to an understudied fixture in the history of urban economic life, governance and landscape.—Joshua Lupkin, Journal of the Early RepublicTangires uses a wealth of sources in this fascinating study of a topic only recently getting the attention it deserves . . . Highly recommended.—ChoiceTangire's work represents a major contribution to the understanding of social life in American cities.—Richard G. Miller, History: Reviews of New BooksThe intriguing tale Tangires tells concerns, chiefly, the eclipse of the public market in the interest of the evolution of both private shops and megastores.—Margaretta M. Lovell, Common-PlaceFor the first time we have in this book a historical overview of the public market place in America.—Michal Sernoff, Urban MorphologyFills a gap in the literature of early urban retailing.—Terrence H. Witkowski, Winterthur PortfolioPublic Markets and Civil Cultures undoubtedly stands as the definitive study of the American public market.—Martin J. Hershock, HistorianPublic Markets and Civic Culture brings to light the importance of markets in nineteenth-century urban life.—Brian K. Geiger, Material CultureTable of ContentsPrefaceIntroductionPart I. Building The Common Ground Chapter 1. Market Laws in the Early RepublicChapter 2. The Market HouseChapter 3. Marketplace CulturePart II. Cracks in the Market Walls Chapter 4. The Legalizing of Private Meat Shops in Antebellum New YorkChapter 5. Market House Company Mania in PhiladelphiaChapter 6. The Landscape of DeregulationPart III Regaining a Share of the Marketplace Chapter 7. Consumer Protection and the New Moral EconomyChapter 8. Rebirth of the Municipal Market NotesSelected BibliographyIndex

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Book SynopsisA collection of rare archival images and biographical sketches of the dauntless women who served as nurses and caregivers during the Civil War. During the American Civil War, women on both sides of the conflict, radiating patriotic fervor equal to their male counterparts, contributed to the war effort in countless ways: forming charitable societies, becoming nurses, or even marching off to war as vivandières, unofficial attachés to the regiments. In Faces of Civil War Nurses, Ronald S. Coddington turns his attention to the experiences of 77 women of all ages and walks of life who provided care during the war as nurses, aid workers, and vivandières. Their personal narratives are as unique as fingerprints: each provides a distinct entry point into the larger social history of the brutal and bloody conflict. Coddington tells these determined women's stories through letters, diaries, pension files, and newspaper and government reports. Using identified tintypes and cartes de visite of Table of ContentsPrefaceAcknowledgmentsThe ProfilesNotesReferencesIndex

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Book SynopsisA comparative study of cities that fell into ruin through human involvement. We have been taught to think of ruins as historical artifacts, relegated to the past by a catastrophic event. Instead, Martin Devecka argues that we should see them as processes taking place over a long present. In Broken Cities, Devecka offers a wide-ranging comparative study of ruination, the process by which monuments, architectural sites, and urban centers decay into ruin over time. Weaving together four case studiesof classical Athens, late antique Rome, medieval Baghdad, and sixteenth-century Mexico CityDevecka shows that ruination is a complex social process largely contingent on changing imperial control rather than the result of immediate or natural events. Drawing on literature, legal texts, epigraphic evidence, and the narratives embodied in monuments and painting, Broken Cities is an expansive and nuanced study that holds great significance for the field of historiography.Trade ReviewThe prose is very elegant and lucid, well suited for upper-level undergraduate classes pertinent to matters of pre modern urbanism and thus worth assigning.—Nathanel Andrade, Binghamton University (SUNY), The Classical OutlookTable of ContentsAcknowledgmentsPrologueChapter 1. Athens: Democracy, Oligarchy, and Ruins in Classical GreeceChapter 2. Rome: Ruins and Empire in the Late Antique WorldChapter 3. Baghdad: Postclassical Ruins and the Islamic CityscapeChapter 4. Tenochtitlan: Preservationism and Its Failures in Early Modern MexicoEpilogueNotesBibliography Index

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Book SynopsisA comparative study of cities that fell into ruin through human involvement. We have been taught to think of ruins as historical artifacts, relegated to the past by a catastrophic event. Instead, Martin Devecka argues that we should see them as processes taking place over a long present. In Broken Cities, Devecka offers a wide-ranging comparative study of ruination, the process by which monuments, architectural sites, and urban centers decay into ruin over time. Weaving together four case studiesof classical Athens, late antique Rome, medieval Baghdad, and sixteenth-century Mexico CityDevecka shows that ruination is a complex social process largely contingent on changing imperial control rather than the result of immediate or natural events. Drawing on literature, legal texts, epigraphic evidence, and the narratives embodied in monuments and painting, Broken Cities is an expansive and nuanced study that holds great significance for the field of historiography.Trade ReviewThe prose is very elegant and lucid, well suited for upper-level undergraduate classes pertinent to matters of pre modern urbanism and thus worth assigning.—Nathanel Andrade, Binghamton University (SUNY), The Classical OutlookTable of ContentsAcknowledgmentsPrologueChapter 1. Athens: Democracy, Oligarchy, and Ruins in Classical GreeceChapter 2. Rome: Ruins and Empire in the Late Antique WorldChapter 3. Baghdad: Postclassical Ruins and the Islamic CityscapeChapter 4. Tenochtitlan: Preservationism and Its Failures in Early Modern MexicoEpilogueNotesBibliography Index

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Book SynopsisFull of original plans and historic photographs, this beautifully illustrated collection is the first comprehensive presentation of Olmsted's design concepts for communities and private estates. Silver Winner of the 2021 IBPA Benjamin Franklin Award for Best Coffee Table BookMaster landscape architect Frederick Law Olmsted (18221903) is renowned for his public parks, but few know the extent of his accomplishment in meeting other needs of society. Lavishly illustrated with over 500 images, this book presents Olmsted's design commissions for a wide range of projects. The rich collection of studies, lithographs, paintings, and historical photographs depicts Olmsted's planning for residential communities, regional and town plans, academic campuses, grounds of public buildings, zoos, arboreta, and cemeteries. Focusing on living spaces designed to promote physical and mental well-being, the book showcases more than seventy of Olmsted's designs, including the community of Riverside, IL; theTable of ContentsAcknowledgments Introduction Chapter One. Residential CommunitiesChapter Two. Industrial AreasChapter Three. Regional and Town PlanningChapter Four. Private EstatesChapter Five. Academic CampusesChapter Six. Residential InstitutionsChapter Seven. Grounds of Government and Public BuildingsChapter Eight. ExpositionsChapter Nine. Summer CommunitiesChapter Ten. Resorts and HotelsChapter Eleven. Zoos and Arboreta Chapter Twelve. Cemeteries and MemorialsList of IllustrationsList of RepositoriesIndex

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Book SynopsisThe model of what a concise, attractive guidebook should be.Mid-Atlantic CountryThis lively and informative guide offers tourists, residents, and architecture aficionados insights into nearly 450 of Washington, DC's, most noteworthy buildings and monuments. Organized into 19 discrete walking tours, plus one general tour of peripheral sites, this thoroughly revised sixth edition features projects ranging from early federal landmarks to twenty-first-century commercial, institutional, and residential buildings. It includes some 80 new entries covering dozens of recently completed buildings, along with some historic structures that may have been overlooked in the past. The guide also has updated maps, and many existing entries have been rewritten to reflect recent renovations, changes to the buildings' contexts, or additional scholarship. G. Martin Moeller, Jr., blends informed, concise descriptions with engaging commentary on each landmark, revealing surprising details of the buildings'Trade ReviewLively and informative.Whether you are looking for a tour of must-see monuments or would like to discover emerging neighborhoods and their architectural gems, this book is the ultimate resource.—Travel by ENTREESince 2006, when the AIA published the fourth edition, the book's author has been G. Martin Moeller Jr., a genial and knowledgeable guide.Moeller's entries stray well beyond design, engineering and materials. He is interested in the larger story of Washington—its social, symbolic and political history. He is opinionated, though his opinions are eminently reasonable and often entertaining.Visitors (and residents) who want to discover a history far richer than the usual pieties of the double-decker tour bus will profit from time with this guide. Put it in your bag, take the Metro to a stop from which you have never alighted, and start walking. The lessons learned will be far richer than a stroll on the Mall or down Pennsylvania Avenue.—Philip Kennicott, Washington PostTable of ContentsPrefaceAcknowledgmentsNotes to the ReaderIntroduction. The Architecture of Washington, DC, 1791–2021ToursA. Governmental Capitol HillB. The MallC. Near Southwest D. Capitol RiverfrontE. Residential Capitol HillF. NoMa / Union MarketG. Judiciary Square / Mount Vernon Square / Penn QuarterH. Pennsylvania AvenueI. Downtown—East EndJ. White House / Lafayette SquareK. Downtown—West EndL. Foggy BottomM. GeorgetownN. FoxhallO. Sheridan-Kalorama / Massachusetts Avenue HeightsP. Dupont/LoganQ. Shaw / U StreetR. Meridian HillS. Woodley Park / Cleveland Park / Van NessT. Other Buildings of InterestIndexPhoto Credits

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Book SynopsisA short but engaging exploration of our changing perception of creativity. Creativity was once seen as the mark of mad geniuses, troubled souls, and avant-garde eccentrics. Today, however, we expect to find the trait thriving in and around us. Why? In Creativity, Jan Løhmann Stephensen provides a historical and contemporary view of creativity and explains why it is not always the answer to every problem. From van Gogh to Springsteen, Løhmann Stephensen explores the creative process of artists in order to craft a new theory of creativitymarking it as a collective and dynamic process in flux, rather than a finished product with a set endpoint and sole creator. Finally, he warns, in the twenty-first century, the importance that employers place on creativity has warped the concept into a ubiquitous economic commodity. ReflectionsIn Reflections, a series copublished with Denmark's Aarhus University Press, scholars deliver 60-page reflections on a key concept that encapsulates their yearTable of ContentsChapter 1. From South-West Thailand to Northwest JutlandChapter 2. The History of CreativitiesChapter 3. Creating TechnologiesChapter 4. Madmen—And Mad WomenChapter 5. Against Society And In Its Service

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