Search results for ""Author Pierre"

La chapelle de pèlerinage Notre-Dame-Du-Haut à Ronchamp (1950-1954), emblème de l’architecture moderne, représente une des réalisations clés de Le Corbusier sur la fin de sa carrière. Situé dans les Vosges, sur une colline dominant Belfort, cet édifice est une œuvre d’art unique en son genre par le traitement de la forme et de l’espace, qui se fond de manière extraordinaire dans son environnement. Le toit en forme de conque, les murs courbes, les tours en maçonnerie de pierre ainsi que la façade rythmée par des baies vitrées colorées sont des composants essentiels de cette construction sculpturale. Comme tous les guides de cette collection, cet ouvrage est un incontournable pour les spécialistes ainsi que pour les touristes s’intéressant à l’architecture et à l’art moderne. C’est aussi un cadeau original.

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From humble beginnings in Minnesota, Johnson rose to prominence in the 1970s New York, via the Warhol Factory, to the highest echelons of the rarified world of design. He was named by Architectural Digest in the January 2010 issue one of 'The Worlds 20 Greatest Designers of All Time.' His impressive client list included Pierre Berge, Mick Jagger and Jerry Hall, Richard Gere, and Barbara Streisand. Yet, he never lost his shy humility, generous spirit, and quiet grace. Through a series of essays, project photographs, and personal photographs, we trace the influences on his nascent career, his special relationship with Andy Warhol as recently portrayed in the Netflix series of 2022 'The Andy Warhol Diaries,' and his magical effect on others. Many never-before-seen photographs are included by important photographers, among them: Cecil Beaton, Francesco Scavuello, Billy Name, Jack Mitchell, John Hall, Elizabeth Heyert, and Warhol himself. Opulent Restraint is a must have for every interior design office.

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Cinema mon amour focuses on the mutual fascination that art and film have for one another. It features work by international artists, including Martin Arnold, John Baldessari, Fiona Banner, Marc Bauer, Pierre Bismuth, Candice Breitz, Janet Cardiff & George Bures Miller, collectif_fact, Tacita Dean, Stan Douglas, Thomas Galler, Christoph Girardet & Matthias Muller, Douglas Gordon, Teresa Hubbard / Alexander Birchler, Samson Kambalu, Daniela Keiser, Urs Luthi, Philippe Parreno, Julian Rosefeldt, Hiroshi Sugimoto, Sam Taylor-Johnson, and Mark Wallinger. All of them have engaged with different themes surrounding cinema and filmmaking. The well-founded essays discuss topics such as cinema as space, the film industry, found footage, specific movies and genres, the mechanisms of film, as well as the filmmakers' gaze at art. This lavishly illustrated book, published to coincide with an exhibition at Aargauer Kunsthaus in Switzerland, offers an insight into the allure that film and cinema have on us. Cinema mon amour, Aargauer Kunsthaus, Aarau, Switzerland, 22 January to 17 April 2017.

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Antiquarian, archaeologist, vulcanologist, and envoy to the British Embassy in Naples, Sir William Hamilton (1731–1803) was a leading European figure of his time. Though the romance between his wife Lady Emma Hamilton and Horatio Nelson tends to eclipse Sir William’s own activities, his work as a scientist and a classicist made major contributions to the study of Pompei, Herculaneum, and Mt. Vesuvius. As an expert in ancient art, Hamilton also built up an invaluable collection of ancient Greek vases, subsequently sold to the British Museum in London in 1772. Before the pieces were shipped off to England, Hamilton commissioned Pierre-François Hugues d’Hancarville, an adventurous connoisseur and art dealer, to document the vases in words and images. The resulting catalog, published in four volumes and known as Les Antiquités d’Hancarville, represents a neoclassical masterpiece. Never before had ancient vases been represented with such meticulous detail and sublime beauty. With this reprint, TASCHEN revives d’Hancarville’s masterful catalog for a contemporary audience, reproducing in exacting detail the same pristine images that sparked Europe’s love affair with the classical style.

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Alongside Erasmus of Rotterdam, Johannes Reuchlin (1455–1522) is one of the most important European humanists whose works marked the transition from the Middle Ages to the modern era. The year 2022 marks the 500th anniversary of the Pforzheim-born jurist, Hebraist, and religious philosopher’s death, cause indeed for an exhibition and publication to bring jewellery, writings, and language into a stimulating dialogue and to offer new meanings to the titular mystery of signs. At the fore stands the human quest for understanding and tolerance, which has lost none of its relevance today. One particular focal point comprises selected manuscripts and works by Reuchlin, highlighted from new perspectives. An additional emphasis is placed on objects that reflect Reuchlin’s cognitive world through script and symbols from the resplendent collection of the Schmuckmuseum Pforzheim [Pforzheim jewellery museum]. With contributions by Jonathan Boyd, Beatriz Chadour-Sampson, Matthias Dall’Asta, Cornelie Holzach, Wolfgang Mayer, Susanne Nagel, Katja Poljanac, Stefan Rhein, Nathan Ron, Isabel Schmidt-Mappes, Pierre Vesperin, and Anja Wolkenhauer. Text in German.

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In the late 1950s, like tens of thousands of young men of his generation, Pierre Bourdieu, having recently passed the agrégation in philosophy, found himself immersed in the Algerian war. Motivated by an impulse that, as he himself says, ‘was civic rather than political’, nothing seemed more important to him than to understand the Algerian situation and provide the elements that would enable others to come to an informed judgement about it. In extremely tough conditions and along with a small group of students, Bourdieu undertook a series of studies across an Algeria that was tightly patrolled by the army, leading him to discover the shocking reality of the resettlement camps and to analyse the mechanisms of destruction of Algerian society of which they were emblematic. To achieve the objectives he had set himself, Bourdieu had to carry out a genuine intellectual conversion, acquiring an ethnographic understanding of Algerian society, learning sociological analysis at a breakneck pace and inventing new instruments - both theoretical and empirical - that would enable him to understand the relations of domination specific to colonialism. These new tools also enabled him to analyse the nature of the crisis that the war had both produced and manifested. This unique volume brings together the first texts written by Bourdieu in the midst of the Algerian conflict, as well as later writings and interviews in which he returns to the topic of Algeria and the decisive role it played in the development of his work.

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Stunning monograph on the colourful universe of artist Ben Sledsens. Artist Ben Sledsens (b. 1991) combines an in depth knowledge of the visual tradition with his own mythology. With his large-scale canvases, he shows us fragments from his imaginary world, a Utopia in which he himself wants to live. His colours and reinterpretations of the landscape are reminiscent of artists such as Henri Matisse, Pierre Bonnard, Claude Monet, Henri Rousseau and Pieter Bruegel the Elder. Although his landscapes, portraits, and historical and daily scenes have an idyllic appearance, there is also a certain tension and mystery in his scenes. He always builds up his compositions around a moment of climax with an open beginning and end. By reusing motifs, themes, objects and poses, Sledsens creates an intriguing puzzle of references and builds a recognisable, coherent, romantic and utopian oeuvre. This publication bundles Sledsens’ most recent work, from 2018 to the present. With text contributions by Herwig Todts (curator modern art KMSKA, Antwerp) and Stefan Weppelmann (director Museum der bildenden Künste, Leipzig). Text in English, French, Dutch, and German.

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Exploring the role of cannabis in medicine, politics, history, and society, The Pot Bookoffers a compendium of the most up-to-date information and scientific research on marijuana from leading experts, including Lester Grinspoon, M.D., Rick Doblin, Ph.D., Allen St. Pierre (NORML), and Raphael Mechoulam. Also included are interviews with Michael Pollan, Andrew Weil, M.D., and Tommy Chong as well as a pot dealer and a farmer who grows for the U.S. Government. Encompassing the broad spectrum of marijuana knowledge from stoner customs to scientific research, this book investigates the top ten myths of marijuana; its physiological and psychological effects; its risks; why joints are better than water pipes and other harm-reduction tips for users; how humanity and cannabis have co-evolved for millennia; the brain’s cannabis-based neurochemistry; the complex politics of cannabis law; its potential medicinal uses for cancer, AIDS, Alzheimer’s, multiple sclerosis, and other illnesses; its role in creativity, business, and spirituality; and the complicated world of pot and parenting. As legalization becomes a reality, this book candidly offers necessary facts and authoritative opinions in a society full of marijuana myths, misconceptions, and stereotypes.

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Pierre-Auguste Renoir’s (1841–1919) timelessly charming paintings still reflect our ideals of happiness, love, and beauty. Derived from our large-format volume, the most comprehensive retrospective of his work published to date, this compact edition examines the personal history and motivation behind the legend. Though he began by painting landscapes in the Impressionist style, Renoir found his true affinity in portraits, after which he abandoned the Impressionists altogether. Though often misunderstood, Renoir remains one of history’s most well-loved painters—undoubtedly because his works exude such warmth, tenderness, and good spirit. In an incisive text tracing the artist’s career and stylistic evolution, Gilles Néret shows how Renoir reinvented the painted female form, with his everyday goddesses and their plump contours, rounded hips and breasts. Renoir’s later phase, marked by his return to the simple pleasure of the female nude in his Bathers series, was his most innovative and stylistically influential, and would inspire such masters as Matisse and Picasso. With a complete chronology, bibliography, photos, sketches, and brilliant reproductions, this is the essential work of reference on this enduring master artist.

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With the International Exhibition of Modern Decorative and Industrial Arts in 1925, Art Deco seduced the world. From New York to Paris, the press celebrated this event which permanently imposes this universal style. Crossing the Atlantic aboard sumptuous liners such as Île-de-France and Normandy, main French decorators such as Jacques-Émile Ruhlmann, Jean Dunand and Pierre Chareau exhibited in department stores, from New York to Philadelphia. From Mexico to Canada, this enthusiasm is driven by North American architects trained at the School National Museum of Fine Arts in Paris from the beginning of the 20th century, then at the Art Training Center in Meudon and at the Fontainebleau School of Fine Arts, two art schools founded after the First World War world which strengthened the links between the two continents. This book reveals a reciprocal emulation which is illustrated in the architecture and ornamentation of skyscrapers as well as in cinema, fashion, press, sport... Thirty-seven texts and 350 illustrations make it possible to discover the unique links that unite France and America, from the Statue of Liberty by Bartholdi to the Streamline which succeeds Art Deco. Text in French.

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In Montaigne: Life without Law, originally published in French in 2014 and now translated for the first time into English by Paul Seaton, Pierre Manent provides a careful reading of Montaigne’s three-volume work Essays. Although Montaigne’s writings resist easy analysis, Manent finds in them a subtle unity, and demonstrates the philosophical depth of Montaigne’s reflections and the distinctive, even radical, character of his central ideas. To show Montaigne’s unique contribution to modern philosophy, Manent compares his work to other modern thinkers, including Machiavelli, Hobbes, Pascal, and Rousseau. What does human life look like without the imposing presence of the state? asks Manent. In raising this question about Montaigne’s Essays, Manent poses a question of great relevance to our contemporary situation. He argues that Montaigne’s philosophical reflections focused on what he famously called la condition humaine, the human condition. Manent tracks Montaigne’s development of this fundamental concept, focusing especially on his reworking of pagan and Christian understandings of virtue and pleasure, disputation and death. Bringing new form and content together, a new form of thinking and living is presented by Montaigne’s Essays, a new model of a thoughtful life from one of the unsung founders of modernity. Throughout, Manent suggests alternatives and criticisms, some by way of contrasts with other thinkers, some in his own name. This is philosophical engagement at a very high level. In showing the unity of Montaigne’s work, Manent’s study will appeal especially to students and scholars of political theory, the history of modern philosophy, modern literature, and the origins of modernity.

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During the 1860s, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley joined forces to revolutionize art with light- flooded landscapes that dispensed with the conventional imagery of the time. In 1874, with their penchant for working out of doors in order to capture fleeting sensory impressions directly on the canvas, they came to be known as the “Impressionists.” Berthe Morisot, Paul Cézanne, and Gustave Caillebotte became affiliated with the new tendency as well. More than a decade later, artists such as Paul Signac and Henri-Edmond Cross developed their pioneering ideas further, and in 1901, during his first year in Paris, the young Pablo Picasso too drew inspiration from the Impressionist style. No comparable collection provides such a comprehensive overview of Impressionist landscape painting and its development as the one assembled in recent decades by Hasso Plattner, founder of the Museum Barberini. On its basis, Ortrud Westheider, the director of the Museum Barberini, presents the history of French Impressionism. With its focus on the transitory moment, the artistry of the Impressionists continues to exert a powerful fascination. Guided by the interplay between light and atmosphere, they created exquisite and timeless images whose innovative spirit and vitality continue to delight viewers today.

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The Heretical Archive examines the relationship between memory and creation in contemporary artworks that use digital technology while appropriating film materials. Domietta Torlasco argues that these digital films and multimedia installations radically transform our memory of cinema and our understanding of the archive. Indeed, such works define a notion of archiving not as the passive preservation of audiovisual signs but as an intervention and the creative rearticulation of cinema’s perceptual and political textures. Connecting psychoanalysis, phenomenology, and feminist theory in innovative ways, Torlasco analyzes cutting-edge digital works that engage with the past of European cinema and visual culture, including video installations by Monica Bonvicini (Destroy She Said) and Pierre Huyghe (The Ellipsis), Agnès Varda’s film The Gleaners and I, Marco Poloni’s multimedia installation The Desert Room, and Chris Marker’s CD-ROM Immemory. Torlasco’s central claim is that if the archives of psychoanalysis and cinema have long privileged the lineage that runs from Oedipus to Freud, the archives of the digital age—what she calls the “heretical archive”—can help us imagine an unruly, porous, multifaceted legacy, one in which marginal figures return to speak of lost life as much as of life that demands to be lived.

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One of the leading lights of the Impressionist movement, Pierre-Auguste Renoir (1841–1919) remains a towering figure in art history with enduring public appeal. Sun-kissed, charming, and sensual, his work shows painting at its most lighthearted and luminous, while championing the plein air and color innovations of his time. Renoir’s oeuvre was prolific, with some several thousand works in his lifetime. Much influenced by forerunners such as Courbet, Degas, Manet, Delacroix, he worked with contemporary peers such as Monet to explore fresh uses of color and brushwork, rendering texture and depth with different-hued daubs. Drawn to intimate and tender human scenes, his subjects include lovers, mothers, and numerous nudes. As his career progressed, Renoir investigated different styles and techniques, shifting away from the feathery Impressionist touch to a more robust, classical corporeality, sometimes called his “Ingres period,” and later to monumental pieces such as The Bathers. From the abundant output of his lengthy career, this essential artist introduction selects key Renoir works to explore his innovations in the art of painting, as much as his traditions in pursuit of beauty, harmony, and the female form.

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This is the first of five volumes that will be based on lectures given by Pierre Bourdieu at the Collège de France in the early 1980s under the title ‘General Sociology’. In these lectures, Bourdieu sets out to define and defend sociology as an intellectual discipline, giving it his own distinctive twist. In doing so he introduces and clarifies all the key concepts for which he has become so well-known, such as field, capital and habitus, concepts that continue to shape the way that sociology is practiced today. In this first volume, Bourdieu focuses on the fundamental social processes of naming and classifying the world, the ways that social actors use words to construct social objects and the struggles that arise from this. The sociologist encounters a world that is already named, already classified, where objects and social realities are marked by signs that have already been assigned to them. In order to avoid the naiveté and confusion that stem from taking for granted a world that has been socially constituted, sociologists must examine the part played by words in the construction of social things – or, to put it differently, the contribution that classification struggles, a dimension of all class struggles, play in the constitution of classes, including classes of age, sex, race and social class. An ideal introduction to some of Bourdieu’s most important concepts and ideas, this volume will be of great interest to the many students and scholars who study and use Bourdieu’s work across the social sciences and humanities, and to general readers who want to know more about the work of one of the most important sociologists and social thinkers of the 20th century.

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In the past several years two academic controversies have migrated from the classrooms and courtyards of college and university campuses to the front pages of national and international newspapers: Alan Sokal’s hoax, published in the journal Social Text, and the self-named movement, “Perestroika,” that recently emerged within the discipline of political science. Representing radically different analytical perspectives, these two incidents provoked wide controversy precisely because they brought into sharp relief a public crisis in the social sciences today, one that raises troubling questions about the relationship between science and political knowledge, and about the nature of objectivity, truth, and meaningful inquiry in the social sciences. In this provocative and timely book, Keith Topper investigates the key questions raised by these and other interventions in the “social science wars” and offers unique solutions to them.Engaging the work of thinkers such as Richard Rorty, Charles Taylor, Pierre Bourdieu, Roy Bhaskar, and Hannah Arendt, as well as recent literature in political science and the history and philosophy of science, Topper proposes a pluralist, normative, and broadly pragmatist conception of political inquiry, one that is analytically rigorous yet alive to the notorious vagaries, idiosyncrasies, and messy uncertainties of political life.

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Colonia Hermosa, now considered a suburb of Oaxaca, began as a squatter settlement in the 1950s. The original residents came in search of transformation from migrants to urban citizens, struggling from rural poverty for the chance to be part of the global economy in Oaxaca. Cheleen Ann-Catherine Mahar charts the lives of a group of residents in Colonia Hermosa over a period of thirty years, as Mexico became more closely tied into the structures of global capital, and the residents of Colonia Hermosa struggled to survive. Residents shape their discussions within a larger narrative, and their talk is the language of the heroic individual, so necessary to the ideology and the functioning of capital. However, this logic only tenuously connects to the actual material circumstances of their lives. Mahar applies the theories of French sociologist Pierre Bourdieu to her data from Mexico in order to examine the class trajectories of migrant families over more than three decades. Through this investigation, Mahar adds an important intergenerational study to the existing body of literature on Oaxaca, particularly concerning the factors that have reshaped the lives of urban working poor families and have created a working-class fraction of globalized citizenship.

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This intimate, conversational reader transports us to the enchanted world of Alessandra Sanguinetti’s photographic series The Adventures of Guille and Belinda, exploring the evolution of this celebrated work and the themes and questions it raises. Made in the countryside of Buenos Aires Province, Sanguinetti’s series follows the lives of two cousins as they come of age alongside the realities of rural life. From a young age, Guille and Belinda have been Sanguinetti’s collaborators, co-conspirators, and playmates, evoking the unique worlds suspended between dreams and reality that define childhood, adolescence, and eventually adulthood. Here, they reflect with Sanguinetti on the work’s making and their changing relationship to it over time in an extended conversation illustrated with previously unseen images from across the years. This discussion is complemented by a conversation between Sanguinetti and curators Clément Chéroux and Pierre Leyrat, unpacking the ways this work engages with and disrupts conversations around documentary photography, artistic collaboration, and the depiction of the lives of girls and women the world over. This reader coincides with a solo exhibition of Alessandra Sanguinetti’s work at Fondation Henri Cartier-Bresson, Paris, opening 30 January 2024.

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To its legions of followers, bodyboarding is quite simply the most intense watersport on the planet. Wherever you find waves that are too heavy for even the most gung-ho surfers, there you'll find the boogers, screaming into dredging pits and scoring impossibly deep barrels. Born to Boogie: Legends of Bodyboarding tells the story of this incredible sport from 1971 to the present day. The pioneers, the champions and the underground chargers are all profiled, among them Tom Morey, Pat Caldwell, Ben Severson, Jay Reale, Mike Stewart, Michael 'Eppo' Eppelstun, Guilherme Tamega, Andre Botha, Ryan Hardy, Damian King, Ben Player, Jeff Hubbard, Mitch Rawlins and Pierre Louis Costes. Written by respected bodyboard journalist Owen Pye, Born to Boogie tells the tale of how the sport was created, how it developed, flourished, faltered and fought back to become one of the most exciting extreme sports in the world today. Filled with incredible stories spanning four decades and packed with iconic images, Born to Boogie is a book that will fascinate every bodyboarder.

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Since the 1980s, society’s wealthiest members have claimed an ever-expanding share of income and property. It has been a true counterrevolution, says Pierre Rosanvallon—the end of the age of growing equality launched by the American and French revolutions. And just as significant as the social and economic factors driving this contemporary inequality has been a loss of faith in the ideal of equality itself. An ambitious transatlantic history of the struggles that, for two centuries, put political and economic equality at their heart, The Society of Equals calls for a new philosophy of social relations to reenergize egalitarian politics.For eighteenth-century revolutionaries, equality meant understanding human beings as fundamentally alike and then creating universal political and economic rights. Rosanvallon sees the roots of today’s crisis in the period 1830–1900, when industrialized capitalism threatened to quash these aspirations. By the early twentieth century, progressive forces had begun to rectify some imbalances of the Gilded Age, and the modern welfare state gradually emerged from Depression-era reforms. But new economic shocks in the 1970s began a slide toward inequality that has only gained momentum in the decades since.There is no returning to the days of the redistributive welfare state, Rosanvallon says. Rather than resort to outdated notions of social solidarity, we must instead revitalize the idea of equality according to principles of singularity, reciprocity, and communality that more accurately reflect today’s realities.

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In this pathbreaking book, Pierre Charbonnier opens up a new intellectual terrain: an environmental history of political ideas. His aim is not to locate the seeds of ecological thought in the history of political ideas as others have done, but rather to show that all political ideas, whether or not they endorse ecological ideals, are informed by a certain conception of our relationship to the Earth and to our environment. The fundamental political categories of modernity were founded on the idea that we could improve on nature, that we could exert a decisive victory over its excesses and claim unlimited access to earthly resources. In this way, modern thinkers imagined a political society of free individuals, equal and prosperous, alongside the development of industry geared towards progress and liberated from the Earth’s shackles. Yet this pact between democracy and growth has now been called into question by climate change and the environmental crisis. It is therefore our duty today to rethink political emancipation, bearing in mind that this can no longer draw on the prospect of infinite growth promised by industrial capitalism. Ecology must draw on the power harnessed by nineteenth-century socialism to respond to the massive impact of industrialization, but it must also rethink the imperative to offer protection to society by taking account of the solidarity of social groups and their conditions in a world transformed by climate change. This timely and original work of social and political theory will be of interest to a wide readership in politics, sociology, environmental studies and the social sciences and humanities generally.

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Alexander I was a ruler with high aspirations for the people of Russia. Cosseted as a young grand duke by Catherine the Great, he ascended to the throne in 1801 after the brutal assassination of his father. In this magisterial biography, Marie-Pierre Rey illuminates the complex forces that shaped Alexander's tumultuous reign and sheds brilliant new light on the handsome ruler known to his people as "the Sphinx." Despite an early and ambitious commitment to sweeping political reforms, Alexander saw his liberal aspirations overwhelmed by civil unrest in his own country and by costly confrontations with Napoleon, which culminated in the French invasion of Russia and the burning of Moscow in 1812. Eventually, Alexander turned back Napoleon's forces and entered Paris a victor two years later, but by then he had already grown weary of military glory. As the years passed, the tsar who defeated Napoleon would become increasingly preoccupied with his own spiritual salvation, an obsession that led him to pursue a rapprochement between the Orthodox and Roman churches. When in exile, Napoleon once remarked of his Russian rival: "He could go far. If I die here, he will be my true heir in Europe." It was not to be. Napoleon died on Saint Helena and Alexander succumbed to typhus four years later at the age of forty-eight. But in this richly nuanced portrait, Rey breathes new life into the tsar who stood at the center of the political chessboard of early nineteenth-century Europe, a key figure at the heart of diplomacy, war, and international intrigue during that region's most tumultuous years.

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Between 1954 and 1960, in the midst of the Algerian War, more than two million Algerian peasants – a quarter of the population – were forcibly resettled. They were removed from their homes and villages and relocated in camps controlled by the French military in what was one of the largest and most brutal displacements of a rural population in history.It was in this context of colonial violence that Pierre Bourdieu and Abdelmalek Sayad set out to examine transformations in the fundamental structures of peasant economy and thought. By destroying the spatial and temporal frameworks of ordinary existence and reorganizing the life of peasants, the process of uprooting completed what the imperial policy of land confiscation and the spread of monetary exchange had started: the ‘depeasantization’ of agrarian communities stripped of the social and cultural means to make sense of the present and orient themselves to the future. This destruction of the traditional way of life was exacerbated by the quasi-urban conditions of the resettlement shantytowns, which brought about irreversible transformations in economic attitudes at the same time as they accelerated the contagion of needs, plunging the uprooted individuals into a ‘traditionalism of despair’ suited to daily survival in conditions of extreme uncertainty. Through their detailed analysis of these processes Bourdieu and Sayad provide a powerful account both of the destruction of a traditional way of life and of the brutal effects of colonial power.This classic text, now published in English for the first time, will be of great interest to students and scholars in sociology, anthropology, politics, migration studies, postcolonial studies and the social sciences and humanities generally, and to anyone concerned with the impact of colonization and its aftermath.

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We live in the grip of a great illusion about politics, Pierre Manent argues in A World beyond Politics? It's the illusion that we would be better off without politics--at least national politics, and perhaps all politics. It is a fantasy that if democratic values could somehow detach themselves from their traditional national context, we could enter a world of pure democracy, where human society would be ruled solely according to law and morality. Borders would dissolve in unconditional internationalism and nations would collapse into supranational organizations such as the European Union. Free of the limits and sins of politics, we could finally attain the true life. In contrast to these beliefs, which are especially widespread in Europe, Manent reasons that the political order is the key to the human order. Human life, in order to have force and meaning, must be concentrated in a particular political community, in which decisions are made through collective, creative debate. The best such community for democratic life, he argues, is still the nation-state. Following the example of nineteenth-century political philosophers such as Alexis de Tocqueville and John Stuart Mill, Manent first describes a few essential features of democracy and the nation-state, and then shows how these characteristics illuminate many aspects of our present political circumstances. He ends by arguing that both democracy and the nation-state are under threat--from apolitical tendencies such as the cult of international commerce and attempts to replace democratic decisions with judicial procedures.

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Since its founding in 1971, Paris-based SCAU architecture has grown to be one of the premier architectural firms in the world, with landmark projects like the Stade de France, Paris; the Quai des Savoirs, Toulouse; and the Pierre Zobda-Quitman teaching hospital, Fort-de-France, Martinique. The firm is known for innovative design across a wide variety of buildings and structures, from museums and office complexes to hospitals, housing developments, stores, and universities. SCAU has also been at the forefront of developments in the fields of infrastructure and urban planning. Creatures of the City provides a stunning look back over four decades of the prestigious firm's vast portfolio of work. For the book, award-winning French photographer Cyrille Weiner has created a 224-page photo essay that focuses on fourteen of SCAU architecture's key projects, showing them within the context of their surrounding urban setting and their reception by visitors, inhabitants, and passers-by. Together, the photographs form a striking testament to the firm's diverse, interdisciplinary approach that emphasises the riches of the places where it intervenes and eschews any preconceived notion about the outcome or overall image. Weiner's extensive imagery is complemented by a text by French novelist Aurélien Bellanger. Text in English and French.

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Showcasing more than sixty pieces from the Pierre Bergé-Yves Saint Laurent Foundation and the Museum of Lace and Fashion collections, Sheer highlights the designer’s mastery over transparent fabrics. Through archival drawings and photographs, and newly shot sheer silhouettes designed by Yves Saint Laurent from the collections of the Musée Yves Saint Laurent Paris and the Museum for Lace and Fashion, Calais, Sheer: The Diaphanous Creations of Yves Saint Laurent highlights the couturier’s pioneering work in lace and other sheer fabrics, uncovering how he was able to overturn codes of unveiling the body to present a new, powerful and sensual feminine figure. The book shows how he worked to ‘reveal’ the body of the woman wearing his clothes with both elegance and audacity: the Nude Dress of 1968, for example, made entirely of transparent chiffon, provided ‘modesty’ in the form of ostrich feathers. Original outfits, sketches, collection boards and fabric swatches give an intimate window into the designs, while photographs of models and clients such as Catherine Deneuve and Naomi Campbell bring to life the designer’s creations in a way that still shocks even now. Sheer is an essential read for fashion fans, and a fascinating and unique look at the work of one of the great designers.

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An inspiring collection of 50 spectacular houses built almost entirely from glass Glass Houses presents 50 stunning architect designed homes that utilize glass to maximum effect. The international selection includes early modernist houses from the 1930s, such as Philip Johnson’s Glass House and Mies van der Rohe’s Farnsworth House, and glamorous mid-century LA villas like Pierre Koenig’s Case Study #22, alongside outstanding contemporary examples, where new innovations have made even more daring glass structures possible. Each house is celebrated with awe-inspiring photographs that showcase the dynamic, light-filled living spaces that only glass can deliver. Features homes in: Australia, Brazil, Chile, Czech Republic, Ecuador, Finland, France, Germany, Italy, Japan, Mexico, Spain, South Africa, Sweden, Switzerland, The Netherlands, UK, USA, and Vietnam Features architects including: Tatiana Bilbao, Lina Bo Bardi, Ofis Arhitekti, Herzog & de Meuron, Hiroshi Nakamura, Kazuyo Sejima, Philip Johnson, Mecanoo, John Lautner, Richard Rogers, and Ludwig Mies van der Rohe

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This is a major collection of more than seventy essays, critical pieces, biographical sketches, and memoirs by the renowned poet, translator, and essayist. It includes long-inaccessible contributions to journals and magazines together with previously unpublished material. Included are essays on Carlyle, Parchen, and Novalis, memoirs on Dali and Durrell, reviews of Miller, Ferlinghetti, and Watkins, and a number of pieces on Surrealism.These works reflect Gascoyne's continuing engagement with the changing context of his times, and his close involvement with and response to luminary figures in twentieth-century art and literature. The subjects include: Eileen Agar, Louis Aragon, W. H. Auden, George Barker, Andre Breton, Thomas Carlyle, Leonora Carrington, Rene Char, Salvador Dali, Lawrence Durrell, T. S. Eliot, Paul Eluard, Max Ernst, Vincent van Gogh, Geoffrey Grigson, S. W. Hayter, Friedrich Holderlin, Humphrey Jennings, Pierre Jean Jouve, Man Ray, Henry Miller, Novalis, Kenneth Patchen, Roland Penrose, Francis Picabia, Jeremy Reed, Elizabeth Smart, Tambimuttu, Graham Sutherland, Julian Trevelyan, Vernon Watkins, and, Antonia White.

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Howard S. Becker is a name to conjure with on two continents in the United States and in France. He has enjoyed renown in France for his work in sociology, which in the United States goes back more than fifty years to pathbreaking studies of deviance, professions, sociology of the arts, and a steady stream of books and articles on method. Becker, who lives part of the year in Paris, is by now part of the French intellectual scene, a street-smart jazz pianist and sociologist who offers an answer to the stifling structuralism of Pierre Bourdieu. French fame has brought French analysis, including The Sociology of Howard S. Becker, written by Alain Pessin and translated into English by Steven Rendall. The book is an exploration of Becker's major works as expressions of the freedom of possibility within a world of collaborators. Pessin reads Becker's work as descriptions and ideas that show how society can embody the possibilities of change, of doing things differently, of taking advantage of opportunities for free action. The book is itself a kind of collaboration Pessin and Becker in dialogue. The Sociology of Howard S. Becker is a meeting of two cultures via two great sociological minds in conversation.

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A daring collaboration among scholars, Black Sexual Economies challenges thinking that sees black sexualities as a threat to normative ideas about sexuality, the family, and the nation. The essays highlight alternative and deviant gender and sexual identities, performances, and communities, and spotlights the sexual labor, sexual economy, and sexual agency to black social life. Throughout, the writers reveal the lives, everyday negotiations, and cultural or aesthetic interventions of black gender and sexual minorities while analyzing the systems and beliefs that structure the possibilities that exist for all black sexualities. They also confront the mechanisms of domination and subordination attached to the political and socioeconomic forces, cultural productions, and academic work that interact with the energies at the nexus of sexuality and race. Contributors: Marlon M. Bailey, Lia T. Bascomb, Felice Blake, Darius Bost, Ariane Cruz, Adrienne D. Davis, Pierre Dominguez, David B. Green Jr., Jillian Hernandez, Cheryl D. Hicks, Xavier Livermon, Jeffrey McCune, Mireille Miller-Young, Angelique Nixon, Shana L. Redmond, Matt Richardson, L. H. Stallings, Anya M. Wallace, and Erica Lorraine Williams

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When blacksmith Pierre Michaux affixed pedals to the front axle of a two-wheeled scooter with a seat, he helped kick off a craze known as velocipedomania, which swept France in the late 1860s. The immediate forerunner of the bicycle, the velocipede similarly reflected changing cultural attitudes and challenged gender norms. Velocipedomania is the first in-depth study of the velocipede fad and the popular culture it inspired. It explores how the device was hailed as a symbol of France’s cutting-edge technological advancements, yet also marketed as an invention with a noble pedigree, born from the nation’s cultural and literary heritage. Giving readers a window into the material culture and enthusiasms of Second Empire France, it provides the first English translations of 1869’s Manual of the Velocipede, 1868’s Note on Monsieur Michaux’s Velocipede, and the 1869 operetta Dagobert and his Velocipede. It also reprints scores of rare images from newspapers and advertisements, analyzing how these magnificent machines captured the era’s visual imagination. By looking at how it influenced French attitudes towards politics, national identity, technology, fashion, fitness, and gender roles, this book shows how the short-lived craze of velocipedomania had a big impact.

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When blacksmith Pierre Michaux affixed pedals to the front axle of a two-wheeled scooter with a seat, he helped kick off a craze known as velocipedomania, which swept France in the late 1860s. The immediate forerunner of the bicycle, the velocipede similarly reflected changing cultural attitudes and challenged gender norms. Velocipedomania is the first in-depth study of the velocipede fad and the popular culture it inspired. It explores how the device was hailed as a symbol of France’s cutting-edge technological advancements, yet also marketed as an invention with a noble pedigree, born from the nation’s cultural and literary heritage. Giving readers a window into the material culture and enthusiasms of Second Empire France, it provides the first English translations of 1869’s Manual of the Velocipede, 1868’s Note on Monsieur Michaux’s Velocipede, and the 1869 operetta Dagobert and his Velocipede. It also reprints scores of rare images from newspapers and advertisements, analyzing how these magnificent machines captured the era’s visual imagination. By looking at how it influenced French attitudes towards politics, national identity, technology, fashion, fitness, and gender roles, this book shows how the short-lived craze of velocipedomania had a big impact.

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A comprehensive introduction to the anthropology of the arts, this is the first textbook to go beyond visual art to cover the arts more broadly. Drawing together media such as painting, sound, performance, video, and film, it presents a clear overview of the cross-cultural human experience of art.Introducing students to the basics as well as the latest scholarship, the book features:- 45 chapters which combine classic texts from anthropologists such as Pierre Bourdieu, Claude Lévi-Strauss, Margaret Mead, Bronislaw Malinowski, Alfred Gell, Franz Boas, and Mary Douglas with recent scholarship by George Marcus, Tim Ingold, Roger Sansi, Christopher Pinney, Georgina Born, and others- Both theoretical and ethnographic readings, with coverage ranging from Bali, Papua New Guinea, Egypt, sub-Saharan Africa, Eastern Europe, and Australia to the United States- Introductory materials, ethnographic exercises, further reading ideas, and alternative suggestions for navigating the content based on medium, geography, theory, or ethnographyDesigned for classroom use, Anthropology of the Arts is invaluable for teaching and learning. Engaging and accessible, it is essential reading for students in anthropology of art, anthropology of design, anthropology of performance, and related courses.

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A collection of 100 postcards, each featuring a striking cover from American Vogue. From early aspirational illustrations to modern celebrity photography, this is a stunning selection of Vogue's most dazzling images. Since its launch in 1892, Vogue has brought sophistication to its readers around the world. Early illustrations from artists including George Wolfe Plank, Olive Tilton, Pierre Brissaud, and Eduardo Garcia Benito saw ethereal figures of fantasy develop into red-lipped flappers, and as colour photographs began to appear, the women transformed again: from Surrealist images by Horst P. Horst to 'women in the life of the moment', captured by Irving Penn. From the fifties onwards, Vogue women became more accessible still, as models and stars like Elizabeth Taylor, Goldie Hawn, Cindy Crawford, and Cher, with their own distinct personalities, appeared through the lenses of Richard Avedon and Snowdon. Vogue covers now are the epitome of style and beauty, with such illustrious photographers as Mario Testino, Annie Leibovitz, Steven Klein, and Patrick Demarchelier photographing stars like Lady Gaga, Kirsten Dunst, and Kate Moss, celebrating female icons across modern culture.

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Olivier Gagnère appeared on the French design scene in the 1980s. Through his contact with the Memphis group of Ettore Sottsass in Milan, he developed his spirit of fantasy, great formal liberty, all with a touch of humour. In Japan, on the island of Kyushu, he immersed himself in the ancestral craftsmanship of the porcelain makers in the studios of Arita. He designed his earliest pieces of furniture for Artelano and Pierre Staudenmeyer's Galerie Néotù. He went on to collaborate with the Galerie Maeght to create works in Murano glass and with the Galerie Edition Limitée for works in earthenware. In 1994, his designs for the interior of the café Marly, in the Louvre, brought him great renown and have led to many collaborations with crystal works Saint-Louis, porcelain manufacturer Bernardaud, En attendant les Barbares... With Olivier Gagnère's artful mastery of every material, he is just as at ease working with porcelain as with iron, crystal, wood, leather or bronze. He blends simple and timeless forms with carefully sized volumes, in a range of bright contrasting colours. Steeped in the most classical traditions, he marks every one of his creations with a gesture, a demeanor that is a signature of his times. Text in English and French.

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It is a common misconception that it is difficult or impossible to discuss music, that a piece of music simply speaks to the listener-or not. Paul Steenhuisen, in conversation with composers, offers readers insight into the creative process, and ways of listening and entering into works of new music. Steenhuisen, himself a composer of merit, talks one on one with thirty-two of his contemporaries-twenty-six of whom are Canadian-with a colleague's candour, sympathy, and expertise. These rare intimations afford fellow composers, musicologists, students, and inquisitive listeners a comparative look into the lives of the people who write some of the most innovative, challenging, and sublime music today. Composers Interviewed: R. Murray Schafer; Robert Normandeau; Chris Paul Harman; Linda Catlin Smith; Alexina Louie; Omar Daniel; Michael Finnissy; John Weinzweig; Udo Kasemets; Pierre Boulez; Barbara Croall; James Rolfe; John Beckwith; Yannick Plamondon and Marc Couroux; George Crumb; Peter Hatch; John Oswald; Francis Dhomont; Martin Arnold; Helmut Lachenmann; Juliet Palmer; Christian Wolff; Mauricio Kagel; John Rea; Gary Kulesha; Howard Bashaw; Christopher Butterfield; Keith Hamel; Jean Piché; James Harley; Hildegard Westerkamp;

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Ten amazing curves personally selected by one of today's most important math writersCurves for the Mathematically Curious is a thoughtfully curated collection of ten mathematical curves, selected by Julian Havil for their significance, mathematical interest, and beauty. Each chapter gives an account of the history and definition of one curve, providing a glimpse into the elegant and often surprising mathematics involved in its creation and evolution. In telling the ten stories, Havil introduces many mathematicians and other innovators, some whose fame has withstood the passing of years and others who have slipped into comparative obscurity. You will meet Pierre Bézier, who is known for his ubiquitous and eponymous curves, and Adolphe Quetelet, who trumpeted the ubiquity of the normal curve but whose name now hides behind the modern body mass index. These and other ingenious thinkers engaged with the challenges, incongruities, and insights to be found in these remarkable curves—and now you can share in this adventure.Curves for the Mathematically Curious is a rigorous and enriching mathematical experience for anyone interested in curves, and the book is designed so that readers who choose can follow the details with pencil and paper. Every curve has a story worth telling.

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The Roman empire remains unique. Although Rome claimed to rule the world, it did not. Rather, its uniqueness stems from the culture it created and the loyalty it inspired across an area that stretched from the Tyne to the Euphrates. Moreover, the empire created this culture with a bureaucracy smaller than that of a typical late-twentieth-century research university. In approaching this problem, Clifford Ando does not ask the ever-fashionable question, Why did the Roman empire fall? Rather, he asks, Why did the empire last so long? Imperial Ideology and Provincial Loyalty in the Roman Empire argues that the longevity of the empire rested not on Roman military power but on a gradually realized consensus that Roman rule was justified. This consensus was itself the product of a complex conversation between the central government and its far-flung peripheries. Ando investigates the mechanisms that sustained this conversation, explores its contribution to the legitimation of Roman power, and reveals as its product the provincial absorption of the forms and content of Roman political and legal discourse. Throughout, his sophisticated and subtle reading is informed by current thinking on social formation by theorists such as Max Weber, Jurgen Habermas, and Pierre Bourdieu.

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Join Katie as she steps into some of the most famous paintings in the world for an exciting art adventure! When Katie visits an art gallery for the first time with Grandma, she discovers that art is wonderfully exciting, especially when five famous paintings come alive for her . . . Expect a little bit of mischief, a lot of cream cakes and even a friendly tiger! 'A wonderful way to engage children with art. A brilliant combination of education and storytelling' - Parents in TouchThis first introduction to art, features five great masterpieces: The Hay Wain by John Constable, Madame Moitessier Seated by Jean-Auguste-Dominique Ingres, Les Parapluies by Pierre-Auguste Renoir, Tropical Storm With a Tiger by Henri Rousseau and Dynamic Suprematism by Kasimir Malevich.Classic picture book character, Katie, has been delighting children for over 25 years. Why not collect all 13 titles in the series?Katie and the ImpressionistsKatie and the Mona LisaKatie and the SunflowersKatie and the British ArtistsKatie and the Waterlily PondKatie and the Starry NightKatie and the Spanish PrincessKatie and the BathersKatie in LondonKatie's London ChristmasKatie in ScotlandKatie and the Dinosaurs

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Paris in 1200 was a city in transition. The great cathedral of Notre Dame was halfway through its construction and walls were being built to enclose the new, larger limits of the city. Pope Innocent III ordered all French churches closed to punish King Philip Augustus for his remarriage; the king himself negotiated an unprecedented truce with the English; and the students of Paris threatened a general strike, punctuated with incidents of violence, to protest infringements of their rights. John W. Baldwin brilliantly resurrects this key moment in Parisian history using documents only from 1190 to 1210—a narrow focus made possible by the availability of collections of the Capetian monarchy and the medieval scholastic thinkers. This unique approach results in a vivid snapshot of the city at the turn of the thirteenth century. Paris, 1200 introduces the reader to the city itself and its inhabitants. Three "faces" exemplify these inhabitants: that of the celebrated scholar Pierre the Chanter, of King Philip Augustus, and of the more deeply hidden visages of women. The book examines the city's primary institutions: the royal government, the Church, and its celebrated schools that evolved into the university at Paris. Finally, it offers an account of the delights and pleasures, as well as the fears and sorrows, of Parisian life in this period.

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Die Autorin geht der Frage nach, ob Migration und Behinderung zwangsläufig eine doppelte Belastung darstellen. Im Fokus der Arbeit steht hierbei eine spezielle Gruppe: jüdische, aus der Ex-Sowjetunion stammende Familien, die einen Angehörigen mit einer geistigen Behinderung betreuen. Hierzu sind in 5 Familien mündliche Interviews durchgeführt und hermeneutisch ausgewertet worden. Zusätzlich wurden Fragebögen, die 60 Familien aus diesem Personenkreis im Rahmen eines Projektes der Zentralwohlfahrtsstelle der Juden in Deutschland e.V. zu ihrer Lebenssituation beantwortet hatten, einer quantitativen Sekundäranalyse unterzogen. Aufgrund der Ergebnisse kommt die Autorin zu dem Schluss, dass die ursprünglichen Annahme so nicht zutrifft und differenziert betrachtet werden muss. Als Begründung hierfür werden die empirisch gewonnenen Ergebnisse zu dem Habitusmodell des französischen Soziologen Pierre Bourdieu in Bezug gesetzt, um zu erklären, warum Behinderung und Migration nicht zwangsläufig eine doppelte Belastung darstellen müssen.Diese Studie spricht alle an, die sich für das Themengebiet Behinderung im Rahmen der Migrationsforschung interessieren.

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A fully illustrated, comprehensive, and scholarly catalogue of the paintings in the Ashmolean Museum’s collection by French artists born between 1775 and 1875 The only complete catalogue of French paintings of the period in the Ashmolean Museum, this comprehensive and scholarly study explores their rich collection of nineteenth-century French art. Continuing a convention set by earlier Ashmolean catalogues that mirrors the concept of the long nineteenth century, the book defines nineteenth-century French artists as those born between 1775 and 1875. Stretching into the twentieth century, it covers a fascinating range of paintings including works by Louis-Léopold Boilly, Camille, Lucien, and Félix Pissarro, Henri Fantin-Latour, Édouard Manet, Pierre-Auguste Renoir, Paul Cézanne, Claude Monet, and Henri Matisse. The catalogue was compiled by the late distinguished art historian Jon Whiteley. In each entry, Whiteley draws upon his encyclopaedic knowledge of French art and the Ashmolean holdings. Provenance, literature, and exhibition history are recorded as well as extensive technical notes and information on frames. The entries on each work are accompanied by new, high-quality photography and comparative images, resulting in a complete and thorough documentation of this important part of the Ashmolean collection of Western art, providing an informative contribution to existing scholarship. Distributed for Modern Art Press

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2023 Honorable Mention, Brazil Section Humanities Book Prize, Latin American Studies Association (LASA)This book explores visual portrayals of blackness in Brazil to reveal the integral role of visual culture in crafting race and nation across Latin America. In the early twentieth century, Brazil shifted from a nation intent on whitening its population to one billing itself as a racial democracy. Anadelia Romo shows that this shift centered in Salvador, Bahia, where throughout the 1950s, modernist artists and intellectuals forged critical alliances with Afro-Brazilian religious communities of Candomblé to promote their culture and their city. These efforts combined with a growing promotion of tourism to transform what had been one of the busiest slaving depots in the Americas into a popular tourist enclave celebrated for its rich Afro-Brazilian culture. Vibrant illustrations and texts by the likes of Jorge Amado, Pierre Verger, and others contributed to a distinctive iconography of the city, with Afro-Bahians at its center. But these optimistic visions of inclusion, Romo reveals, concealed deep racial inequalities. Illustrating how these visual archetypes laid the foundation for Salvador’s modern racial landscape, this book unveils the ways ethnic and racial populations have been both included and excluded not only in Brazil but in Latin America as a whole.

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In 1778 Pierre Henri De Valenciennes, a young landscape painter from Toulouse, found himself in Rome with many other foreign artists intent on studying not only the ancient monuments and the works of the modern masters, but also to encounter Italy's light and landscape. Contrary to most of his companions, Valenciennes rarely copied ancient or modern works of art, but instead he chose to sketch views of Rome, 'a mix of antique and of modern, an assemblage of irregularity and symmetry'. The 96 pages of the sketchbook, reproduced in their actual size and accompanied by a commentary, guide us through Rome, from the river port of Ripa Grande to the basilica of St. John Lateran, from the Ponte Salario bridge to the Vatican, from Piazza Barberini to the Villa Borghese and along the banks of the river Tiber. An advocate of en plein air painting, Valenciennes' sketches use two or three tints of the same colour to trace the landscape of an ideal Rome, and to achieve this goal he did not hesitate to modify or move the surrounding architecture. Contents: Preface by Xavier Salmon, Director of the Prints and Drawings Department of the Louvre; Introduction; Travel to Italy and meeting with artists; Valenciennes' Italian Sketchbooks; Description of the organisation of Sketchbook RF 12966; Material Description; Provenance; List of Exhibitions, Bibliography. Text in French.

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Postcolonial studies has taken a significant turn since 2000 from the post-structural focus on language and identity of the 1980s and 1990s to more materialist and sociological approaches. A key theorist in inspiring this innovative new scholarship has been Pierre Bourdieu. Bourdieu and Postcolonial Studies shows the emergence of this strand of postcolonialism through collecting texts that pioneered this approach—by Graham Huggan, Chris Bongie, and Sarah Brouillette—as well as emerging scholarship that follows the path these critics have established. This Bourdieu-inspired work examines the institutions that structure the creation, dissemination, and reception of world literature; the foundational values of the field and its sometimes ambivalent relationship to the popular; and the ways concepts like habitus, cultural capital, consecration and anamnesis can be deployed in reading postcolonial texts. Topics include explorations of the institutions of the field such as the B.B.C.’s Caribbean voices program and the South African publishing industry; analysis of Bourdieu’s fieldwork in Algeria during the decolonization era; and comparisons between Bourdieu’s work and alternative versions of literary sociology such as Pascale Casanova’s and Franco Moretti’s. The sociological approach to literature developed in the collected essays shows how, even if the commodification of postcolonialism threatens to neutralize the field’s potential for resistance and opposition, a renewed project of postcolonial critique can be built in the contaminated spaces of globalization.

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Pierre Rosenberg, the distinguished art historian and director of the Musee du Louvre, has long admired and studied both paintings and drawings. This dual interest may seem commonplace but is in fact highly unusual: specialists in the field of drawing rarely write about painting, and vice versa. From Drawing to Painting offers a unique perspective by interweaving biographical information about five renowned French artists--Nicolas Poussin, Antoine Watteau, Jean-Honore Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres--with a fascinating look at dozens of their drawings and the links that they have to their paintings. Presenting over 260 illustrations, this book explores drawing as a site of reflection, the space between the idea of a painted image and its realization on canvas. How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists' intentions, their creative processes, and to penetrate their worlds? Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques. Originally delivered as a series of Mellon Lectures at the National Gallery of Art, Washington, D.C., From Drawing to Painting gives the reader an unprecedented view of the artistic process. This richly illustrated book will make an important and beautiful addition to any art library.

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The inspiration for Old, a Blinding Edge Pictures production, directed and produced by two-time Oscar nominee M. Night Shyamalan, from his screenplay based on the graphic novel Sandcastle by Pierre Oscar Lévy and Frederik Peeters. It’s a perfect beach day, or so thought the family, young couple, a few tourists, and a refugee who all end up in the same secluded, idyllic cove filled with rock pools and sandy shore, encircled by green, densely vegetated cliffs. But this utopia hides a dark secret. First there is the dead body of a woman found floating in the crystal-clear water. Then there is the odd fact that all the children are aging rapidly. Soon everybody is growing older—every half hour—and there doesn’t seem to be any way out of the cove. Levy’s dramatic storytelling works seamlessly with Peeters’s sinister art to create a profoundly disturbing and fantastical mystery. Praise for Sandcastle: “Sandcastle truly inspired my film Old. It is a profound mystery sci-fi graphic novel that is illustrated so beautifully and with such humanity. Its theme of ageing had me thinking about my parents and children, and how quickly it all goes by. From the moment I read this, I was changed.” – M. Night Shyamalan “Begins like a murder mystery, continues like an episode of The Twilight Zone, and finishes with a kind of existentialism that wouldn’t be out of place in a Von Trier film.” —Publishers Weekly, starred review “By turns touching, frightening, and strangely believable. It’s a low-key SF gem with heart.” – SFX Magazine “Peeters and Lévy convey some profound, if profoundly unsubtle, truths about the human condition. Weighty stuff, expertly told.” —The Comics Bulletin “Maximally eerie, unsettling.” – Booklist

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Analysis of how emotion is pictured in Arthurian legend. Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion inthe audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice asboth an embodied and consciously articulating emotion. FRANK BRANDSMA teaches Comparative Literature (Middle Ages) at Utrecht University; CAROLYNE LARRINGTON is Professor of Medieval European Literature at the University of Oxford and Official Fellow in Medieval English Literature at St John's College, Oxford; CORINNE SAUNDERS is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham. Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders.

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