Search results for ""author francis"

A bold and brilliant short work by the author of Grief is the Thing with Feathers and Lanny.'A little masterpiece.' Irish Times'Luminous.' Observer'One of our most exciting writers.' The SpectatorMadrid. Unfinished. Man dying.A great painter lies on his deathbed. In seven extraordinary written pictures, untethered from reality, Max Porter translates the explosive final workings of the artist's mind.

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Published to accompany the first Francis Bacon retrospective in Paris for twenty years, this catalogue analyses Bacon’s works from 1971 onwards in light of his relationship to literature. Bacon always vigorously opposed over-analysis of his paintings, preferring to interpret them in purely illustrative or symbolic terms; he admitted, however, that literature was a powerful stimulus to his imagination. The artist was inspired by the images conjured up by certain texts: Aeschylus’ phrase ‘the reek of human blood smiles out at me’ in particular haunted Bacon, while his 1978 work Painting refers to T. S. Eliot’s seminal poem The Waste Land. The inventory of Bacon’s personal library has identified more than 1,300 books, ranging from Bataille and Conrad to Nietzsche and Leiris. Including twelve of Bacon’s renowned triptychs, this lavish publication features eleven gatefolds and some sixty paintings created by Bacon between 1971 and his death in 1992. Reproduced here with analyses of Bacon’s paintings in the light of some of his most admired authors, these specially commissioned texts reveal new ways of understanding some of the most powerful works in the modern canon.

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A unique portrait of one of the creative geniuses of the 20th century, by the distinguished critic David Sylvester. Controversial in both life and art, Francis Bacon was one of the most important painters of the 20th century. His monumental, unsettling images have an extraordinary power to disturb, shock and haunt the spectator, ‘to unlock the valves of feeling and therefore return the onlooker to life more violently’. Drawing on his personal knowledge of Bacon’s inspirations, intentions and working methods, David Sylvester surveys the development of the work from 1933 to the early 1990s, and discusses critically a number of its crucial aspects. He also reproduces previously unpublished extracts from his celebrated conversations with Bacon in which the artist speaks about himself, modern painters and the art of the past. Finally, Sylvester gives a brief account of Bacon’s life, correcting certain errors that elsewhere have been presented as facts. Divided into the sections ‘Review’, ‘Reflections’, ‘Fragments of Talk’ and ‘Biographical Note’, Looking Back at Francis Bacon is a unique portrait of one of the creative geniuses of our age by a writer of comparable distinction.

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**LONGLISTED FOR THE RATHBONES FOLIO PRIZE 2019****SHORTLISTED FOR THE CATHOLIC HERALD BOOK AWARDS 2019**A life of St Francis in verseThroughout her career Ann Wroe has constantly confounded expectations, following her own unique path. Now, in Francis, she turns to verse to tell the life of St Francis of Assisi. This is a sequence only Ann Wroe could write, combining a troubadour's musicality with full grasp of the moment, and a luminous sense of Francis as both myth and man, across history and culture, in nature and community. It is a remarkable and immensely beautiful book.St Francis was one of the most compelling spirits the world has seen. He was also a poet, a musician and a dancer. His world was coloured by troubadour lays, brightened by birdsong, ordered by the bells and chants of the Church and transfigured by the angel-lyres he heard about him. For Ann Wroe, this seems a good reason to write his life in songs. It is also an excuse to record, in songs, the many ways his presence and his music still linger round us. They surprise us in chance encounters in city streets; they waylay us amid the humdrum banalities of working life; they persist in the beauties of nature. Great spirits never leave us. They echo on and on.

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The perfect introduction to the life and work of Francis Bacon

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A collection of wisdom from one of the world’s greatest spiritual leaders.When Jorge Mario Bergoglio became the 266th pope, he took the name Francis in honor of Saint Francis of Assisi, a figure renowned for his humility, wisdom, and concern for the poor. Since then, Pope Francis has followed in his namesake’s footsteps, rejecting worldly wealth and dedicating himself to helping the poor and disadvantaged. He has touched the world with his gentle wisdom, preaching a message of openness, love, and mercy.Collected here are some of the words that have made Pope Francis so beloved that he was even named Time magazine’s “Person of the Year” in 2013. Gathered from his speeches, homilies, sermons, and more, the quotations in this book will inspire any reader to become a more thoughtful, humble, and just person. The Wisdom of Pope Francis will appeal to anyone seeking the wisdom of a spiritual leader.The themes that run throughout Pope Francis’s ministrations will resonate with readers of any and all faiths and beliefs. Here are just a few examples of the wisdom of Pope Francis:“A bit of mercy makes the world less cold and more just.”“Money has to serve, not to rule.”“We just cannot worry about ourselves.”“Do not be afraid of commitment, of sacrifice, and do not look with fear towards the future.”“True joy comes from a profound harmony between persons.”“The person who is most high among us must be at the service of the others.”“A faith which is lived out in a serious manner gives rise to acts of authentic charity.”

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From a private collection in Italy, these previously unpublished works by Francis Bacon are presented here in thematic sections, each of which is preceded by a short introductory text. Nearly 700 drawings, pastels, and collages were gifted by Bacon over the course of many years to his close friend, Italian journalist Cristiano Lovatelli Ravarino. His commentary is included here, along with texts by noted art historians Edward Lucie-Smith and Fernando Castro Flórez, and an authentication report from Ambra Draghetti, graphological consultant to the Court of Bologna. The works were photographed expressly for this publication. Text in English and Italian.

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From the moment Pope Francis stepped on to the balcony of St Peter's Basilica for the first time, a global audience sensed that not only the Catholic Church but the world at large could be entering a new spiritual, political and social age. In the days following Pope Francis' election, there would be further early signs of the simplicity worthy of the first apostles and the leader that inspired them. Not since John XIII appeared on the scene half a century earlier had a new Pope opened the windows of the Church in such a way as to let in some much needed fresh air. Nevertheless, for the excitement generated by the first Latin American Pope and a man who claimed to want to put the poor back at the centre of the Church's social teaching, people could still only guess where it might be all be leading.Francis: Pope of Good Promise is neither an instant media job, nor a hagiography based on authorised interviews, but the product of diligent investigation across a wide range of official and independent sources - a measured, objective portrait of a man who, in circumstances that he neither sought nor foresaw, found himself handed the highest office at a time of crisis not just for the Church but for long established institutions worldwide from banks to political parties.

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'A captivating biography ... This rollicking story is packed with anecdotes' The Times'I can't suppose that there has been a better English biography of Francis, or indeed is likely to be one' Catholic HeraldFrancis I was inconstant, amorous, hot-headed and flawed. Arguably he was also the most significant king that France ever had. A contemporary of Henry VIII of England, Francis saw himself as the first Renaissance king. A courageous and heroic warrior, he was also a keen aesthete, an accomplished diplomat and an energetic ruler who turned his country into a force to be reckoned with. Bestselling historian Leonie Frieda's comprehensive and sympathetic account explores the life of the most human of all Renaissance monarchs - and the most enigmatic.

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Through translations by two major contemporary poets and a scholar intimate with the Ponge canon, this volume offers selections of mostly earlier poetry —Le parti pris des choses, Pièces, Proêmes, and Nouveau nouveau recueil—as representative of the strongest work of this modern French master.

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The first multidisciplinary analysis of one of the most impactful and popular contemporary artworks of recent years.In 1999, a short video of a solitary boy kicking an empty bottle up a hill in Mexico City became the first instalment of Children’s Games, a series of works by artist Francis Alÿs (b. Antwerp, 1959). The ongoing project, which now numbers around thirty-five works, has gradually given shape to an extensive collection of videos of children at play. For almost twenty-five years, Alÿs and his collaborators Félix Blume, Julien Devaux, and Rafael Ortega have been travelling around the world to document the distinctive ways in which children interact with each other and their physical environment. They have gone from remote villages in the Democratic Republic of the Congo, Afghanistan, Venezuela, and Nepal to the mountains of Switzerland and metropoles like Hong Kong and Paris, but have also visited the war-torn city of Mosul in Iraq, the border between Mexico and the United States, and the strait of Gibraltar that divides Africa and Europe. The resulting images are standing proof of the seriousness of play and of children’s stunning powers of resilience in the face of conflict.This volume provides a multidisciplinary perspective to the many layers of Children’s Games. It includes an interview with Francis Alÿs and Rafael Ortega, a series of essays by well-known scholars and art critics, curatorial statements, and a logbook related to the presentation of Children’s Games at the Venice Biennale of 2022.Contributors: Francis Alÿs (artist), Gerard-Jan Claes (filmmaker, artistic director of Sabzian), Tim Ingold (anthropologist, University of Aberdeen), Zeynep Kubat (art historian, curator and writer), Karen Lang (art historian, Royal Society of Arts), Rafael Ortega (artist), Rodrigo Perez de Arce (architect, Pontificia Universidad Católica de Chile), Juan Martín Pérez García (Network for the Rights of Children in Mexico (REDIM), Giulio Piovesan (journalist and photographer), John Potter (media education, University College London), Virginia Roy (curator at the University Museum of Contemporary Art of the National Autonomous University of Mexico), Stéphane Symons (professor of philosophy, KU Leuven), Hilde Teerlinck (Han Nefkens Foundation /curator of the Belgian Pavilion at the Venice Art Biennale 2022).Ebook available in Open Access.

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In 1935 the French baritone Pierre Bernac formed a duo with the composer Francis Poulenc that became a legend throughout the world. Unprecedented in the history of music, it was the first duo in which the singer and pianist were perceived as equals. It lasted for 25 years and was a determining influence on Poulenc's vocal output: more than two-thirds of his songs were written for Bernac to sing. Bernac's general book on the French repertoire, "The Interpretation of French Song", has long been the standard and indispensable work on its subject. In "Francis Poulenc - the Man and His Songs", first published in 1977, he gives us the fruit of his long association with Poulenc, paying moving tribute to the composer both as man and musician, and providing detailed analyses of every piano-accompanied song that Poulenc wrote. Each of the 137 poems is annotated for pronunciation, with a line-for-line translation into English by Winifred Radford, who also translated the text of the book. The discussion of each song is preceded by a brief biographical note on the poet and a description of Poulenc's own attitude towards both poet and poem.Bernac aimed in this book, to pass on his personal understanding of the songs of Francis Poulenc, as well as a little of their mutual experience in interpreting and performing them. He has thereby left a unique record whose importance cannot be overestimated.

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Selected for the 2012 AAUP Book, Jacket and Journal Show in the category 'Scholarly Illustrated'!Awarded with 'Best Vormgegegeven Boek 2011' for the best designed book in the category business and academic publications Sam Francis. Lesson of Darkness is the second of a series of six volumes, bringing together the most important writings of Jean-François Lyotard (1924-1998) on contemporary art and artists. This second volume introduces forty-three poetical reflections and comments on the work of the well-known Californian painter Sam Francis (1923-1994). This edition reprints the English text published in 1993, which is no longer available, face to face with the previously unpublished French original. It also reproduces in full colour all forty-three paintings commented upon by Lyotard.In Lyotard's opinion ‘the work [by Sam Francis] pays homage to the visible marvel and bears witness to the visual enigma'. Lyotard discovers in these poetic reflections the subtle variety of meanings in the use of colour in Sam Francis's paintings.Photos: Van Looveren & Princen

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In this landmark text by one of the most influential philosophers of the twentieth century, Gilles Deleuze takes the paintings of Francis Bacon as his object of his study. The book presents a deep engagement with Bacon's work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon's style: the isolation of the figure, the violation and deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Here Deleuze creates a number of his well-known concepts, such as the 'body without organs' and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions. Deleuze links Bacon's work to Cezanne's notion of a 'logic' of sensation and, investigating this logic, explores Bacon's crucial relation to past painters such as Cezanne, Velasquez, and Soutine.

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Using the painter's queer identity as a framework to understand his visceral approach to figurationFrancis Bacon is considered one of the most important artists of the 20th century, best known for his distinctive way of portraying human figures. Especially in his male portraits and nudes, the physicality of the bodyskin, flesh, musclesis translated by the artist into thick, oily textures, giving the figures almost abstract shapes. Flashes of teeth, torsos and rib cages underscore Bacon's visceral philosophy regarding the human form. As the artist famously said: We are meat, we are potential carcasses. If I go into a butcher's shop I always think it is surprising that I wasn't there instead of the animal.Beyond their carnal overtones, these paintings unite a wide variety of influences, revisiting canonical themes and combining references to the great masters of painting with Bacon's own perceptions of the male body. Both his biography and oeuvre were perme

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This fascinating and beautifully illustrated book on the work of Francis Bacon, one of the 20th century s greatest painters, takes an in-depth look at his trademark motif of figures imprisoned within ghostly frames. Arguably one of the most influential and original painters of the 20th century, Francis Bacon painted haunting portraits that employed themes of crucifixion, torment, and isolation. Incorporating the insights of The Logic of Sensation, French philosopher Gilles Deleuze s seminal criticism of Bacon s work, this volume highlights Bacon s approach to space as one of the defining forces of his work. By organizing the spatial and dramatic structure of his compositions with barely visible cubic or elliptical cages, his figures become trapped in a kind of invisible room. This sense of confinement creates a direct, unsettling impression on the viewer, and further emphasizes the painter s dark vision. This book features stunning reproductions of 40 large-scale paintings, including Study for a Portrait (1952), Chimpanzee (1955), Three Studies of the Male Back (1970), and Sand Dune (1983) as well as a selection of rarely exhibited works on paper. This book also contains a series of essays that explore the range of variation in Bacon s use of isolating constructions over a period of nearly 50 years, as well as the nature of his painting technique and compositions. "

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American artist Sam Francis (1923-1994) brought vivid colour and emotional intensity to Abstract Expressionism. He was described as the "most sensuous and sensitive painter of his generation" by former Guggenheim Museum director James Johnson Sweeney, and curator Howard Fox called him "one of the acknowledged masters of late-modern art." Francis's works, whether intimate or monumental in scale, make indelible impressions; the intention of the artist was to make them felt as much as seen. At the age of twenty, Francis was hospitalised for spinal tuberculosis and spent three years virtually immobilised in a body cast. For physical therapy he was given a set of watercolours, and, as he described it, he painted his way back to life. The exuberant colour and expression in his paintings celebrated his survival; his five-decade career was an energetic visual and theoretical exploration that took him around the world. Francis' idiosyncratic painting practices have long been the subject of speculation and debate among conservators and art historians. Presented here for the first time in this volume are the results of an in-depth scientific study of more than forty paintings from the late 1940s to early 1990s, which reveal new discoveries about his creative process, inventive techniques, and specially formulated paints and binders. The data provides a key to the complicated evolution of the artist's work and informs original art historical interpretations.

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Beginning with a summary of Francis Lieber's life, this book demonstrates that the man who introduced the study of hermeneutics to the United States, applying it to practical reason, deserves an important place in the history of American hermeneutics. Catalano examines Lieber's application to practical reason, in addition to the current state of hermeneutics in both Germany and the United States. This book is indispensable to philosophers, especially those focusing on the history of U.S. philosophy.

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Francis of Assisi is pre-eminently the saint of the Middle Ages. Owing nothing to church or school he was truly theodidact, and if he perhaps did not perceive the revolutionary bearing of his preaching, he at least always refused to be ordained priest. He divined the superiority of the spiritual priesthood. Saint Francis of Assisi (Italian: San Francesco d'Assisi), born Giovanni di Pietro di Bernardone, informally named as Francesco (1181/1182 - 3 October 1226), was an Italian Catholic friar, deacon and preacher. He founded the men's Order of Friars Minor, the women's Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history. Pope Gregory IX canonized Francis on 16 July 1228. Along with Saint Catherine of Siena, he was designated Patron saint of Italy. He later became associated with patronage of animals and the natural environment, and it became customary for Catholic and Anglican churches to hold ceremonies blessing animals on his feast day of 4 October. He is often remembered as the patron saint of animals. In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. Once his community was authorized by the Pope, he withdrew increasingly from external affairs. Francis is also known for his love of the Eucharist. In 1223, Francis arranged for the first Christmas live nativity scene. According to Christian tradition, in 1224 he received the stigmata during the apparition of Seraphic angels in a religious ecstasy making him the first recorded person in Christian history to bear the wounds of Christ's Passion. He died during the evening hours of 3 October 1226, while listening to a reading he had requested of Psalm 142.

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Missouri’s Virginia Minor forever changed the direction of Women’s Rights—not Susan B. Anthony, Elizabeth Cady Stanton, Lucy Stone, Carrie Chapman Catt, or any of the other so-called “marquee names” of the suffrage movement—when she and her husband, Francis, argued Minor v Happersett in 1875. Despite the negative ruling, this landmark case brought the right to vote for women to the U.S. Supreme Court for the first and only time in the seventy-two year fight for women’s suffrage in the United States.America’s Forgotten Suffragists: Virginia and Francis Minor is the first biography of these activists who had a profound impact on the suffrage movement but have largely been forgotten by history. Virginia and Francis were unique for their time in being jointly dedicated to the cause of female enfranchisement. Unlike the brief profiles available now, this book will paint a full picture of their lives, depicting their youth, married life, and their highly-lauded civilian work during the Civil War. Their early suffrage work and famous Supreme Court case will be covered in depth, along with an exploration of how it actually helped the suffrage movement by giving it a unifying direction, despite the court delivering a negative verdict. This biography will also cover Virginia and Francis’ continued fight for women’s suffrage after the case, including Virginia’s tax revolts, writings, and campaigning for the franchise in Nebraska.

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One of the world’s preeminent Abstract Expressionists, California-born painter Sam Francis (1923-1994) first travelled to Japan in 1957, quickly established studios and residences there, and became active in a circle of avant-garde artists, writers, filmmakers, architects, and composers, including members of the nascent Gutai and Mono-ha movements. This book chronicles those connections, as well as his complex and evolving relationship with East Asian aesthetics from the 1950s through the 1990s. From the very first exhibitions Francis had in Tokyo, critics linked his evocative use of negative space with the Japanese concept of “ma”, a symbolically rich interval between objects or ideas. This shared pictorial and philosophical syntax laid the foundation for a feedback loop of mutual influence that spurred frequent collaborations between the artist and his Japanese contemporaries, extending into the realms of printmaking, ceramics, music, poetry, publishing, and performance. Written by art critic and curator Richard Speer, with a foreword by Debra Burchett-Lere, executive director/president of the Sam Francis Foundation, this is the first full-length monograph to explore an important but sometimes overlooked milieu in Post-World War II art—a dialogue between Eastern and Western sensibilities that prefigured our current era of global interconnectedness and cross-cultural exchange. Lavishly illustrated with colour plates and archival images, it is an adjunct publication for the related exhibition “Sam Francis and Japan: Emptiness Overflowing” (Los Angeles County Museum of Art, 2021), co-curated by Speer.

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The Medical Council of India (MCI) has introduced a new medical curriculum which includes a one-month foundation course at entry level to medical school. The MCI has laid emphasis on 'AETCOM' (Attitude, Ethics, and Communication) module which is a welcome step. Medical ethics will help medical students acquire knowledge of medicolegal, societal, ethical and humanitarian principles that enable them to grow in their profession and serve patients and society in a better way. Complete handbook on ethics in medicine. Includes the latest MCI Regulations on professional conduct, etiquettes and ethics. Follows the new Graduate Medical Education Regulations, 2018. All the chapters have been updated and expanded. Invaluble for the teaching and learning of medical ethics. Enables healthcare professionals to serve their patients and the society in a better way.

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7 Reece Mews, South Kensington, was Francis Bacon’s home and studio for over thirty years. After he died in 1992, access was granted to award-winning photographer Perry Ogden to work undisturbed for days on end to produce this riveting record of the house and its contents. He captured every part of the small building’s hidden interior: the rickety wooden staircase; the kitchen with its ‘gallery’ of Bacon works in reproduction; the bedsitting room with its bookcases piled high. In the studio itself, thirty years of inspired artistic endeavour had accumulated unchecked: the slashed, discarded canvases scattered across the floor; the brushes, rags and tins encrusted with layer upon layer of paint; the surfaces used as impromptu palettes; the last unfinished self-portrait on the easel. For some, Bacon’s studio was an heroic statement, a work of art in its own right, constructed to distil and give form to his aesthetic intentions. In this astonishing book we are invited to take an intimate and privileged look around his private space, and to gain unrivalled insights into how, why and what he painted.

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In the final of Maylis Besserie's Irish-French trilogy, her preoccupation with the art and lives of artists who crossed borders between France and Ireland has a fitting climax as Bacon confronts the boundaries between the real and the imagined.

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In light of the fact that Francis Hutcheson (1694-1746) was one of the most influential philosophers of the Scottish Enlightenment, it is remarkable that there has never been an edition of his correspondence. Hutcheson's epistolary offerings include letters published in journals in England, Ireland, and the Netherlands. These letters and occasional writings exhibit his polemical skills in controversy, his differences with Presbyterian orthodoxy, his preoccupation with religious and intellectual liberty, and his loyalty and lasting affection for his friends. Hutcheson engaged in extensive public polemics, not least to defend his major works but also to promote other causes. These incidental writings provide valuable insight into Hutcheson's more substantial treatises. His private correspondence and such documents as his will and the declaration he made upon becoming a professor at the University of Glasgow give the reader an impression of Hutcheson's personality and his various life experiences.

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In light of the fact that Francis Hutcheson (1694-1746) was one of the most influential philosophers of the Scottish Enlightenment, it is remarkable that there has never been an edition of his correspondence. Hutcheson's epistolary offerings include letters published in journals in England, Ireland, and the Netherlands. These letters and occasional writings exhibit his polemical skills in controversy, his differences with Presbyterian orthodoxy, his preoccupation with religious and intellectual liberty, and his loyalty and lasting affection for his friends. Hutcheson engaged in extensive public polemics, not least to defend his major works but also to promote other causes. These incidental writings provide valuable insight into Hutcheson's more substantial treatises. His private correspondence and such documents as his will and the declaration he made upon becoming a professor at the University of Glasgow give the reader an impression of Hutcheson's personality and his various life experiences.

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Told for the first time in graphic novel form, the story of Francis Bacon’s life is as complex, colorful, and highly charged as his paintings. Drawn in shades of mauve, red, yellow, and blue that distinguished his palette, these illustrations weave together a troubling but compassionate narrative, one that draws on the tragic events of Bacon’s childhood and youth, as well as reflecting the profoundly passionate yearnings of the artist he became. Separated into thematic and chronological sections the novel highlights the prevailing influences of Bacon’s life and times: his early autodidacticism and estrangement from his family; his struggles to make his way as a surrealist painter and his destruction of his early work. It traces his gradual success in postwar Europe, his powerful and often violent romantic relationships, his foray into portraiture, and his never-ending search for subject matter and meaning in his work. Alternating between full-page illustrations and smaller, captioned works, Portolano imagines not only the known details of Bacon’s biography, but also his inner life—the dreams, fears, and obsessions that were equally formidable underpinnings of his oeuvre. Woven to­gether with historical facts and figures, this graphic novel reconstructs a life as only a cartoonist could—image led, thoughtfully composed, and deeply evocative of its subject matter.

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A new selection of letters, statements and interviews reveal the preoccupations, thoughts and ideas of Francis Bacon, one of the 20th century's most influential and important artists. The documents selected for Francis Bacon: A Self-Portrait in Words illustrate Bacon's sharp wit and ability to express complex ideas in highly personal, memorable language. Included here are not only letters to friends, patrons and fellow artists, but also intriguing notes and lists of paintings. They often come with a sketch as an aide-mémoire or an injunction to himself as he worked in the studio, and many have only come to light since his death. Bacon's letters mirror and reveal his dominant preoccupations at different points throughout his long career. Most of Bacon's letters have never been published and include several that he wrote to the author. Particularly intriguing is the record of a dream that he jotted down, outlining impossibly beautiful paintings he had conjured up in his sleep. To

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Celebrates the 200th anniversary of the birth of Sir Francis Grant.

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A call to reform Catholic health care ethics, inspired by the teachings of Pope Francis Since its first edition in 1948, the US Conference of Catholic Bishops’ Ethical and Religious Directives for Catholic Health Care Services (ERD) has guided Catholic institutions in the provision of health care that reflects both the healing ministry of Jesus and the Church’s understanding of human dignity. However, while the papacy of Pope Francis and the clerical sex-abuse scandal both profoundly impacted the Catholic Church, the latest edition of the ERD does not address or reflect these transformations. Now for the first time, Todd A. Salzman and Michael G. Lawler present an extended critical commentary on the 2018 ERD. They argue that it is problematic in a number of ways. First, the revised ERD continues to prioritize a rule-based over a personalist-based ethical method, with an emphasis on absolute norms that proscribe specific medical acts. Further, it does not take into account Pope Francis’s transforming ecclesiological, methodological, and anthropological visions, neither internally in Catholic health care institutions nor externally in collaborations between Catholic and non-Catholic health care institutions. Finally, the revised ERD provides no evidence that the bishops grasp how the clerical sex-abuse scandal and its cover-up have fundamentally undermined episcopal authority and credibility. Salzman and Lawler propose new ways forward for US Catholic health care ethics that prioritize human dignity as their guiding principle. As there is pluralism in Catholic definitions of human dignity, there must be pluralism in the norms and directives that facilitate realizing human dignity. Pope Francis’s emphasis on the virtues of mercy and care should move the ERD forward from a focus on absolute norms in medical ethics to a focus on virtues and principles to guide both patients and health care professionals in their discerned conscientious health care decisions.

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This theological study examines how Pope Francis lives out mercy in his own Petrine ministry and calls for it to be lived out by the people of God. The centerpiece of Pope Francis’s pontificate from the very first days has been his proclamation of the importance of the mercy of God. While facing global problems of climate change, terror, political destabilization, refugees, and dire poverty, the Holy Father has articulated the mission of the Church through mercy, love, and forgiveness to reveal the compassion of God for all and particularly for those most vulnerable existing on the margins of society. In this compelling study, Gill Goulding, CJ, examines for the first time the critical and determinative role of mercy in Francis’s papacy using his homilies, allocutions, encyclicals, and addresses as primary sources. Goulding traces the theme of mercy in Francis’s thought, attending to its Ignatian foundations and its Christological, Trinitarian, and ecclesiological significance for the Church today, particularly the impact of his reappropriation and elevation of the discourse of mercy on the work of the Curia in Rome. Goulding enters into dialogue with other theologians, including Romano Guardini, Walter Kasper, and Hans Urs von Balthasar, to demonstrate a continuity between Francis and his predecessors, especially Benedict XVI, in this area of mercy. In addition, Goulding argues that the influence of St. Ignatius Loyola, in particular his Spiritual Exercises, needs to be taken into account, paying special attention to Francis’s call for the practice of discernment. Throughout Pope Francis and Mercy, Goulding lays the groundwork for future research and suggests a wider appreciation of the necessary tools to enable an engagement with mercy in our contemporary world.

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This book uses the busts on the Chantrey Wall in the Ashmolean Museum to give an introduction to the remarkable career of Francis Chantrey (1781-1841), and the collection in the Ashmolean. The book charts the progress of the busts from Chantrey's workshop to a Victorian national treasure: the first monographic collection of British sculpture to become a part of a permanent museum collection. It follows the return of the busts from basement storage to their conservation and triumphant redisplay in the new building. The book begins and ends with the Chantrey Wall, one of the most photographed displays of recent years providing non-specialist readers an introduction to one of the giants of British sculpture, and one of the most important sculpture collections in the country.

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