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Marking a crucial turning point in Caravaggio's life and artistic development, the Crucifixion of Saint Andrew exemplifies the artist's famous tenebristic style, developed during his rise to fame in Rome, and simultaneously signals a new, grittier realism in his work. Inspired both by a Spanish patron and by the urban topography of Naples, a city three times the size of Rome in Caravaggio's day, the Crucifixion of Saint Andrew became a mobile portent of Caravaggio's stylistic revolution when the viceroy brought it with him to Valladolid in 1610. Recounting the complex history of this masterwork and its understudied position in Caravaggio's oeuvre, this book reveals the ways in which the Crucifixion of Saint Andrew functioned first as a devotional aid and subsequently as a harbinger of Caravaggism abroad.

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This new volume presents highlights of the Taft Museum of Art's exceptional collection, which spans over 750 years of creative endevour. Donated to the city of Cincinnati in 1927, Charles and Anna Taft's collection features beautiful porcelain from the Ming and Qing dynasties, paintings by masters including Rembrandt, Gainsborough, Goya, Ingres, Corot, Whistler, and Sargent, and decorative objects including crystal, gold, silver, and enamel-work. The 80 works that feature in this volume, chosen from the 740-piece collection, are presented in four sections, coinciding with the museum's major areas of specialization: European painting, European decorative arts, American art, and Chinese art. Each piece is accompanied by an entry detailing its history and that of its artist or maker written by Taft curatorial staff. Lynne D. Ambrosini's essay explores the collecting practice of Charles and Anna Taft. Deborah Emont Scott's foreword provides a history of the Taft bequest and its lasting significance to the city of Cincinnati and its present day inhabitants. AUTHOR: Lynne D. Ambrosini is deputy director and the Sallie Robinson Wadsworth Chief Curator, Taft Museum of Art. Lynne Ambrosini has overseen the collection and exhibitions at the Taft since 2004, having earlier worked at the Minneapolis Institute of Arts and Brooklyn Museum. She earned a PhD in art history from the Institute of Fine Arts, N.Y.U. Her exhibitions for the Taft include: Hiram Powers: Genius in Marble (2007), Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (2008), and Daubigny, Monet, Van Gogh: Impressions of Landscape (2016). She has also published many articles and given invited lectures on such artists as J.F. Millet, Gustave Courbet, Edouard Manet, J.A.M. Whistler, Claude Monet, and Auguste Rodin. 101 colour and 5 b/w illustrations

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This is the first-ever scholarly publication devoted to the art of Francesco de Mura (1696–1782), one of the greatest painters of the Golden Age of Naples. De Mura, the favourite of the Bourbon King Charles VII, was the chief painter of decorative cycles to emerge from the studio of Francesco Solimena (1657–1747), the famous Baroque artist. De Mura's refined and elegant compositions, with their exquisite light and colouring, heralded the rococo in Naples, and his later style was a precursor of Neo- Classicism. His ceiling frescoes rivalled those of his celebrated Venetian contemporary, Giambattista Tiepolo (1696–1770). Yet, today, De Mura lacks his proper place in the history of art. Author Arthur Blumenthal argues that this is because nearly a third of De Mura's work was lost during World War II, including, most tragically his crowning achievement, a series of frescos at the abbey of Monte Cassino. It is now time to re-evaluate this once celebrated artist. AUTHOR: Arthur R. Blumenthal is director emeritus of Cornell Fine Arts Museum at Rollins College Nicola Spinosa is director of the Capodimonte Museum Naples and former Superintendent of the National Museums in Naples David Nolta is professor in History of Art at Massachusetts College of Art and Design Maria Grazia Leonetti Rodino is governor of the Pio Monte della Misericordia Loredana Gazzara is governor of the Office Picture Gallery and Historical Archive, Pio Monte della Misericordia. 110 colour illustrations

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The Stephen K. and Janie Woo Scher Collection is considered the world's greatest private collection of portrait medals, rivalling many collections in international museums. This fully illustrated catalogue documenting the Scher Collection is an essential resource for scholars, students, collectors, and curators. Portrait medals were developed during the Italian Renaissance and are central to the history of European portraiture, flourishing as an art form through the nineteenth century and into the twentieth century. Though less familiar to us now than painting and sculpture, these exquisitely crafted objects, typically made from lead, bronze, silver or gold, were produced (sometimes in large numbers) to commemorate individuals, to acknowledge special events, and to disseminate the identity and power of their sitters. The study of the portrait medal has become, through the work of Stephen Scher and others, a burgeoning area of new scholarship. Excellent reproductions of all medals to size, with details of obverse, reverse and full captions, are accompanied by scholarly essays, interesting facts and historical references in this important new volume.

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Gauguin, Van Gogh, Cezanne, Monet, Chagall, Picasso-some of the finest works by the greatest artists of the 20th century were collected by two Swiss art patrons, Rudolf Staechelin (1881–1946) and Karl Im Obersteg (1849–1926). They were successful businessmen, and friends, and inspired by the art of their times, actively purchased works by modernist artists. Published on the occasion of a major international exhibition, 'Gauguin to Picasso: Masterworks from Switzerland' features over 60 celebrated paintings from their collections by 22 world-famous artists. Masterpieces include Paul Gauguin's Nafea faa ipoipo (When will you Marry?) (1892), which was recently sold for US$300 million- the highest price ever paid for an artwork-Vincent van Gogh's Daubigny's Garden (1890), Picasso's double-sided canvas Femme dans la loge / Buveuse d'absinthe (1901) and Marc Chagall's three monumental Rabbi portraits. Other extraordinary paintings by artists of international stature include Swiss masters Ferdinand Hodler and Cunio Amiet, Russian expressionist painter Alexej Jawlensky, and works by Edouard Manet, Pierre-Auguste Renoir, Paul Cezanne, Claude Monet, Amedeo Modigliani, Georges Rouault and Wassily Kandinsky. AUTHOR: Dorothy Kosinski is the director of The Phillips Collection, Washington, DC Hans-Joachim Muller is an art critic at the German paper Die Zeit and the culture editor at Basler Zeitung 174 colour illustrations

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. A single, encompassing view of the rise of landscape art in Britain from the eighteenth to the twenty-first century. . Features masterpieces by renowned artists: JMW Turner, Richard Wilson, Joseph Wright of Derby, John Constable, Thomas Gainsborough, Thomas Jones, Frank Brangwyn, August John, Cedric Morris, Stanley Spencer, Claude Monet, Laura Knight, Alfred Sisley, Edward Lear, Graham Sutherland and John Piper. 'Pastures Green and Dark Satanic Mills' recounts the story of British landscape painting from the Industrial Revolution in the late 18th century to the present day. Examining 88 paintings from the National Museum of Wales, this volume traces the history of the landscape through romanticism, impressionism and modernism right up to the post-industrial imagery of the 21st century. The book presents two major essays: one by Tim Barringer on the tradition of British landscape painting and its position within an increasingly industrialised society, the other by Oliver Fairclough on the significance of the Welsh landscape within the British tradition. Featuring masterpieces by renowned artists – JMW Turner, Richard Wilson, Joseph Wright of Derby, John Constable, Thomas Gainsborough, Thomas Jones, Frank Brangwyn, August John, Cedric Morris, Stanley Spencer, Claude Monet, Laura Knight, Alfred Sisley, Edward Lear, Graham Sutherland and John Piper – this volume offers new insights into the cultural history of Britain. Loosely chronological, and divided into six thematic sections, this new volume demonstrates the strong continuity between the British art of today and that of over 250 years ago: contemporary works, such as conceptual artist Richard Long's photo pieces based on hiking in the Welsh mountains echo the poetics of place as deeply as Richard Wilson's landscapes of the 1740s. AUTHOR: Oliver Fairclough is Keeper of Art, National Museum of Wales. Tim Barringer is Paul Mellon Professor of the History of Art, Yale University. 115 colour

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Lines of Discovery: Four Centuries of American Drawing presents a major new thematic and chronological catalogue survey of the Columbus Museum's most significant holdings of drawings and works on paper, including examples in graphite, charcoal, monotype and pastel. At the heart of the Columbus Museum's collection, and of this volume, is the work of a remarkable individual, Dr. Phillip L. Brewer, who has amassed a truly significant collection of American works on paper – both in terms of its depth and breadth. For the first time this volume presents nearly 200 of these master drawings, 120 of the most important of which are grouped into six chapters, illustrated in full colour, and accompanied by extended catalogue entries written by leading experts. A further 79 works are presented as colour and mono thumbnails interspersed amongst the images of the key works. Included are images by Copley, West and Cole that date from the earliest years of American nationhood; works by Oscar Bluemner, Arthur Dove and Morton Schamberg which herald the advent of modernism; while others by Hans Hoffmann, Yasuo Kuniyoshi, Blanche Lazzell and Rico Lebrun confirm its continued presence through such varied expressions as social realism, surrealism and abstraction. While artists like Milton Avery, Jack Beal, Paul Cadmus, Philip Evergood, Nancy Grossman, and Louise Nevelson explore the strength and beauty of the human form, James Valerio and Andrew Wyeth document the changing faces of the natural world. Together these works, and Lines of Discovery, offer a comprehensive survey of the history of American art. AUTHOR: Stephen C.Wicks is curator of Collections and Exhibitions at the Columbus Museum. Charles T. Butler is director of the Columbus Museum. Theodore E. Stebbins, Jr. is John Moors Cabot Curator of American Paintings at the Museum of Fine Arts, Boston. 155 colour & 80 b/w illustrations

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“It is truly extraordinary to me that so much beauty has sprung from such dark times in Romania, and that is what this book wishes to capture. Art speaks its own language.”—From the Preface Despite Ceaușescu focuses on 91 works, by 13 artists—Horia Bernea, Ştefan Câlţia, Marin Gherasim, Vasile Gorduz, Marcel Guguianu, Sorin Ilfoveanu, Georgeta Năpăruş, Florin Niculiu, Ion Pacea, Corneliu Petrescu, Silvia Radu, Gheorghe Şaru and Icon workshop—drawn from the 900-work Tyler Collection of Romanian Art at the University of Tasmania. The paintings, sculpture, and ceramics were created by artists during the 1970s and 1980s. Fully illustrated throughout in color—with catalogue plates and a checklist—each work of art features an entry with specifications, artist biographical information, stylistic influences, significance and social context, as well as notes. The photographs are by Lee Ewing, sculpture photographer at the National Gallery of Art, Washington DC.

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Determined presents a concise overview of Black history in Virginia from the arrival of the first enslaved Africans in Virginia in 1619 through the groundswell of racial justice protests of 2020. These four centuries encompass slavery and emancipation, segregation and the civil rights movement, the election of the first Black president and the rise of Black Lives Matter. Throughout this complex history, Black people have fought for freedom, justice, and opportunity and against oppression, discrimination, and dehumanization. Their efforts have brought meaningful changes to American society by forcing the nation to define the meaning of its highest ideals of democracy and universal equality. Arranged chronologically, this book explores 400 years of Black history through the stories of key figures and events in Virginia that shaped the fight for Black equity. A few of the individuals featured include John Punch, whose punishment for attempting to escape bondage in 1640 began the codification of a system of slavery that spread throughout the original Thirteen Colonies, and Nat Turner, who shocked the nation with a slave revolt in 1831 that challenged the institution of slavery. John Mitchell, Jr. was a journalist-editor who championed Black pride and civil rights in the Jim Crow era, and Barbara Johns led a student protest that became part of Brown v. Board of Education (1954), the landmark Supreme Court decision dismantling legalized segregation. A new generation of activists like Zyahna Bryant continues the fight for racial equity today. Illustrations of historical artifacts and images bring to life these and other stories of Black determination and resistance. Determined focuses on Virginia, yet it tells an American story. Black people have shaped the nation’s economic, political, and cultural identity, and Virginia has played a formative and central role in national race relations. This book provides a timely reckoning with America’s fraught history with race and systemic racism. It fosters a greater understanding of the legacies of slavery, segregation, and white supremacy to meet the challenges of today and forge a better tomorrow.

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This is a wonderful overview of the remarkable range of dog portraits--there are no human sitters--produced over the last 250 years. It features well-known works such as Rosa Bonheur's Brizo, (one of the best-loved portraits in The Wallace Collection), George Stubbs' Turk, Thomas Gainsborough's portrait of his two dogs Tristram and Fox, Lucian Freud's oil painting of Pluto, his pet whippet, and David Hockney's dachshunds Stanley and Boodgie.Over 50 works, arranged by theme, are drawn from major British collections, including the Royal Collection, the V & A, Tate Britain, the British Museum, and a wealth of regional museums and private collections. In addition memorabilia and souvenirs-bronzes, photos, brooches, and Faberge works, many relating to the British royals, especially Queen Victoria and her children- all evoke the sense of a cabinet of curiosities. This is a must-have for dog lovers.

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An extraordinary book about one of he most comprehensive groupings of ancient Egyptian jewellery. Jewels of the Nile celebrates the very first time that the Worcester Art Museum's internationally important collection of Egyptian jewellery – which has undergone conservation and cleaning – has been shown together. This strikingly illustrated book introduces the reader to the collection of an early 20th century Boston couple with a passion for ancient Egypt. The collectors, Laura and Kingsmill Marrs, were guided in their acquisitions by Howard Carter, the archaeologist who would later achieve world-wide recognition for his discovery of the tomb of Tutankhamun (1922). Under his guidance, the Marrs's purchased an outstanding selection of scarabs, amulets, jewellery and cosmetic-related articles, including rare blue-toned stone vessels. They also acquired a group of Carter's watercolour renditions of important Egyptian sites and royal figures. These artifacts, as well as objects from Worcester's stellar collection of Egyptian antiquities, are included in the publication. AUTHORS: Peter Lacovara is director of the Ancient Egyptian Archaeology and Heritage Fund and former curator at the MFA Boston and Michael C. Carlos Museum. Yvonne Markowitz is the Rita J. Kaplan and Susan B. Kaplan Curator Emerita of Jewellery at the MFA Boston; Paula Artal-Isbrand is the objects conservator who executed the cleaning and conservation treatment. 304 colour illustrations

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This third volume in the Frick Diptych series offers fresh insight into a pair of candelabra that represent the pinnacle of luxury and taste in the years prior to the French Revolution. Vignon tells the fascinating story of these objects that are made of two small white vases with extraordinary gilt-bronze mounts by Pierre Gouthière, the celebrated eighteenth-century French chaser and gilder. Vignon's essay is paired with a text by De Waal in which he examines what it is to make, own, and desire such complex objects

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37 eternal reflections that have flowed through the tides of time to soothe the spirit, presented within a unique framework of rare sixteenth century art and striking contemporary images, a glorious sequel to Love & Wisdom. The eternal reflections in this new volume have flowed through the tides of time to soothe the spirit. This special gift book with gilded edges takes the reader on an uplifting journey with inspirational quotes that are as relevant today as they were centuries ago. Stunning photographs of water, and its beauty in nature, are framed by rare 16th century Illumination manuscript borders to showcase poignant messages of love, joy, grief, resilience, gratitude, enlightenment, and peace. Author Alexandra Villard de Borchgrave's moving introduction, in which she writes of her personal loss, inspires the reader to re-embark on the spiritual journey started in Love & Wisdom. AUTHOR: Alexandra Villard de Borchgrave has built a reputation as a photojournalist, author, poet, and philanthropist. Her photographs have appeared on the covers of internationally renowned publications, such as Newsweek and Paris Match. She is the co-author of Villard: The Life and Times of an American Titan (2001), and the author of Healing Light: Thirty Messages of Love, Hope, and Courage (2005); Heavenly Order: Twenty Five Meditations of Wisdom and Harmony (2008); Beloved Spirit: Pathways to Love, Grace, and Mercy (2011), To Catch A Thought: 50 Reflections for the Heart (2014); and Love and Wisdom: 37 Timeless Reflections. Mrs. de Borchgrave founded the nonprofit organization, the Light of Healing Hope Foundation, in 2010 with the mission of giving books as gifts to hospitals and hospices to bring comfort and healing to those in need. SELLING POINT: . A stunning sequel to Love & Wisdom. Images from sixteenth century art from the Smithsonian's Freer/Sackler Gallery and contemporary photographs from the National Geographic Image Collection. 50 colour illustrations

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This is a first-rate history of photography. As with his previous publication Twentieth Century (2019), author and curator David Acton uses the extraordinary and wide-ranging collection held by the Snite Museum to bring to life 100 photographs which encompass the 19th century. He tracks the history, artistic concepts, and technical advances of photography, from the pioneering work of William Henry Fox Talbot (1800-1877), Alphonse Louis Poitevin (1819-1892), Frederic Flacheron (1813-1883), Roger Fenton (1819-1869), Desire Chanay (1828-1915), Felice Beato (1832-1909), Mathew B. Brady (1822-1896), Julia Margaret Cameron, 1815-1879), William Bell (1830-1910), Louis-Maurice Boutet de Monvel (1850-1913), and Jacob Riis (1849-1914). The volume provides a striking pictorial history, with speciality areas including Mathew Brady's famous photographs of the Civil War and the exploration of the American West by photographers including Eadweard Muybridge and Charles Savage. Acton provides historical context, brief biographies, and a glossary of photographic terms.

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All of the artists use the topic of Nature as a means of asking what it is to be human in a world increasingly chaotic and divorced from our physical landscape. Forces of Nature: Renwick Invitational 2020 features artists Lauren Fensterstock, Timothy Horn, Debora Moore, and Rowland Ricketts. Nature provides a way for these invited artists to ask what it means to be human in a world increasingly chaotic and divorced from our physical landscape. Representing craft media from fiber to mosaic to glass and metals, these artists approach the long history of art's engagement with the natural world through unconventional and highly personal perspectives. Forces of Nature: Renwick Invitational 2020 is the ninth installment of the Renwick Invitational. Established in 2000, this biennial showcase highlights midcareer and emerging makers who are deserving of wider national recognition. The featured artists work in a wide variety of media, from Lauren Fensterstock, who creates detailed, large-scale installations using intensive modes of making drawn from the decorative arts, including paper quilling and mosaic, and from whom SAAM has commissioned a site-specific work - inspired in part by the illustrated renaissance German manuscript The Book of Miracles - that will transform an entire gallery at the Renwick, to Timothy Horn, who creates exaggerated adornments that combine natural and constructed worlds, taking inspiration from objects as varied as baroque jewellery patterns and Victorian era detailed studies of lichen, coral, and seaweed, from bronze and glass, as well as unusual materials like crystalized rock sugar, to evoke the extravagant Amber Room in the Catherine the Great's palace of Tsarskoye Selo; and from Debora Moore, known for her exquisitely detailed glass renderings of orchids, and who is represented in this volume in her new series, Arboria (2018), in which Moore focuses less on realism and more on capturing an intensely personal experience of beauty and wonder, to Rowland Ricketts who creates immersive installations using handwoven and hand-dyed cloth, starting on his farm, where he cultivates the indigo plants he uses to colour his artwork, fully linking his material and process with the finished product. Participatory engagement from non-artists, forms a major part of Rickett's work, emphasising the relationship between nature, culture, the passage of time, and everyday life. AUTHOR: Nora Atkinson is the Lloyd Herman Curator of Craft Renwick Gallery, Smithsonian American Art Museum Washington, DC. 74 colour illustrations

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Ninth volume in the Double Exposure series draws upon photographs in the NMAAHC's collection to explore the dynamic ways sports influence the social, political, and cultural life of African Americans.

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This brand-new, lavishly illustrated, publication features over 90 works by Woo Chong Yung, (Wu Zhongxiong), most of which have never been published or publicly displayed.

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The Three Philosophers by Giorgione (Italian, 1477 1510) in the Kunsthistorisches Museum in Vienna and St. Francis in the Desert by Giovanni Bellini (ca. 1424/35 1516) in The Frick Collection, New York, are two of the most celebrated paintings of the Venetian Renaissance. Between at least 1525 and 1556 the two paintings were displayed together in the same house in Venice, the palazzo of Taddeo Contarini (ca. 1466 1540), a member of one of Venice's wealthiest patrician families. For the first time in more than four hundred years, these two masterpieces will be reunited. Accompanying their display at the Frick, this book explores the origins of the paintings and re-evaluates their shared histories in the collection of Taddeo Contarini. AUTHOR: Xavier F. Salomon is the deputy director and Peter Jay Sharp Chief Curator at the Frick Collection in New York. SELLING POINTS: . Reunites two Italian Renaissance masterpieces after more than four centuries apart, affording a re-examination of their joint history 35 colour illustrations

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Scottish immigrant James Bryce (1812–1893) began his glassmaking career at the age of ten as a child labourer on the floor of a Pittsburgh glasshouse working for $1.25 a week. In 1850 he founded his own glassware company just as pressed glass was increasing in popularity. Pressed glass transformed the lives of everyday people by making beautiful tableware widely available to those who could not afford the expensive blown and cut crystal enjoyed by their wealthy neighbours. Bryce became one of the largest producers of pattern glass in America and by 1871 was shipping its products all over the world. The company continued operations for 113 years, guided by second and then third generation family members. This volume celebrates the beauty and artistry of the naturalistic designs, colourful tableware, and whimsical novelties Bryce produced between 1850 and 1891. At its heart, this book is a highly-illustrated work with 190 newly commissioned colour plates beautifully photographed by leading decorative arts photographer Gavin Ashworth. It concludes with a compendium of authenticated Bryce products illustrated primarily with period line drawings that will be a valuable tool for both sophisticated glass scholars and casual collectors alike.

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Various identities for the richly dressed, contemplative young man in this portrait have been proposed but none with any certainty. The mood of the subject and the diffused, gentle play of light over the broadly painted surfaces are strongly reminiscent of Titian’s Venetian contemporary Giorgione. In many ways, the Frick portrait epitomizes a new tendency in Italian Renaissance portraiture in which the depiction is intended less as a description of the sitter than as an encounter with them. A rich contribution by artist Elizabeth Peyton accompanies an illuminating essay by Giulio Dalvit which addresses the many questions of provenance, chronology, attribution and of who this mysterious young man might be.

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Imperial Colors focuses on the paired busts of Emperor Septimius Severus (r. 193-211) and his wife, Empress Julia Domna in the Eskenazi Museum of Art, two of the finest known examples of later Roman portrait sculpture. This book presents innovative multidisciplinary research that is accessible both to specialists and generalists. In addition to contextualizing these portraits in the visual art and culture of the wider Roman empire, this publication will provide the first detailed and secure evidence for their original appearances. Highlights of this include the recently discovered vestiges of colorful paint, fresh insights into masterful marble polishes, and fascinating possibilities regarding their production and display in antiquity. These sculptures are also carefully constructed images, designed to promote political ideas. They represent continuity with older Imperial models but were updated to create a distinctive visual language for the new Imperial house.

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Bob Jones Jr. founded the collection as an educational effort and opened it on the campus of the university named after his father in Greenville, South Carolina, in 1951. Those first 25 paintings included works by Bicci di Lorenzo, Luca Giordano, El Greco, and Tintoretto, and today the collection comprises over 400 paintings, as well as a wide range of sculpture, decorative arts, and antiquities. It is widely recognized among scholars as one of the finest collections of Renaissance and Baroque paintings in America, and a document of the revival of the taste for Baroque pictures in the mid-20th century. Erin Jones’s introduction provides an overview of the history of the various iterations of the Museum & Gallery, even as it looks forward to a new home in the centre of its community. Richard P. Townsend’s essay presents the most in-depth examination to date of Bob Jones Jr. as a collector, extensively using letters, invoices, and photographs to paint a picture of Jones hitherto not available. At the heart of the volume is the presentation of 55 paintings, featuring works by great European masters including Botticelli, Bouts, Cranach, Guercino, Jordaens, Preti, Reni, Ribera, Rubens, Tiepolo, and Zurbarán.

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The Stebbins Collection - the private collection of Dr. Theodore E. Stebbins, Jr., the esteemed historian of American art and foremost expert on Martin Johnson Heade, and his wife, Susan Cragg Stebbins, successful author and art historian - consists of 70 American paintings, sculpture, and works on paper by 53 artists. Recently donated to The Charles Hosmer Morse Museum of American Art, Florida, this incredible collection includes remarkable works by American masters ranging from Martin Johnson Heade and Thomas Eakins to Fidelia Bridges and John La Farge, well-known artists Albert Bierstadt and Thomas Moran and little-known figures like Arthur I. Keller and Walter Granville-Smith. Publication in October 2021 will not only highlight the significance of this private collection built over a lifetime by the Stebbinses, but it is also a valuable contribution to the field of 19th and early-20th-century American art, and to the history of collections and collecting.

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This entirely new volume illuminates the complex intersection of western and eastern culture and civilization in the Eastern Mediterranean during the period of the Crusades from the eleventh to late thirteenth century; in particular it presents and studies 20 Byzantine and Mamluk Egyptian artworks and illuminated manuscripts drawn both from the collections of the Museum and external loans. The diverse artworks-ceramic bowls, Sgraffito ware, gold coins, glass jewellery and leaves from the Qur'an, and other illuminated manuscripts-are presented in broad chronological and thematic sections, each with an introductory text by a Professor Martin Bommas of the Museum, and other guest authors. These sections look at these objects within the broad context of the Crusades and the history of the Byzantine Empire and Mamluk Egypt, as well as considering reception to, and presentation of, Mamluk heritage in modern-day Cairo, and the reception of object of non-European heritage in Australia. In addition to the main sections and presentation of the objects, many also illustrated using wonderful colour details for the section openers, the volume includes a timeline, selected bibliography and brief biographies of the contributing authors.

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An essay by Xavier F. Salomon paired with a contribution by award-winning novelist Alan Hollinghurst bring to life Jean-Honore Fragonard's (1732-1806) Progress of Love, a series of fourteen paintings considered by many to be the artist's masterpiece. The first four paintings were commissioned in 1771 for the comtesse du Barry, to be installed in 1772 in Louveciennes, the pavilion outside Paris built for her by her lover, Louis XV. By 1773 the canvases, The Pursuit, The Meeting, The Lover Crowned and Love Letters, had been rejected by Du Barry and returned to the artist. In 1790 Fragonard moved the canvases to his cousin's house, the Villa Maubert, in Grasse, and over the course of the year painted ten additional panels: two large-scale works, Love Triumphant and Reverie; four narrow "strips" depicting hollyhocks, and four overdoors of putti. Sold by the Maubert estate to the dealer Agnew's in 1898, the works were purchased in February 1915 by the industrialist Henry Clay Frick. By May 1916 the panels were installed at Frick's new mansion in New York in the present-day Fragonard Room in The Frick Collection.

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An expansive collection catalogue that offers a multiplicity of fresh perspectives on recent modern and contemporary art acquisitions in The Phillips Collection. Planned to coincide with The Phillips Collection's centennial and exhibition, this ground-breaking volume offers an unprecedented breadth of insights and inclusive narratives on the Phillips's growing art collection from a range of voices, including artists, critics, and scholars. Seeing Differently features works across wide-ranging media by renowned artists from the 19th to the 21st centuries, including Benny Andrews, Alexander Calder, Edgar Degas, Simone Leigh, and Renee Stout. An opening essay by Dorothy Kosinski, artist conversations, thematic essays, and 150 plates with 50 object responses by notable contributors, ensure that this will be a lasting art historical resource. AUTHORS: David C. Driskell is an artist, scholar, and professor emeritus at the University of Maryland. Mary Jane Jacob is professor and executive director of exhibitions at The School of the Art Institute of Chicago. Dorothy Kosinski is Vradenburg Director & CEO of The Phillips Collection. Elsa Smithgall is senior curator at The Phillips Collection. 278 colour illustrations

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A major new book about Doris Lee, one of the top female artists - indeed among the top figurative artists, regardless of gender - in the American art world from the mid-1930s through the 1950s. Simple Pleasures presents the first major critical assessment of works by the artist Doris Lee (1904–1983). Lee was one of the most recognised artists in America during the 1930s and 40s, and was a leading figure in the Woodstock Artist's Colony. Her oeuvre reveals a remarkable ability to merge the reduction of abstraction with the appeal of the everyday. In so doing, she offers one of the very rare examples of a coherent visual identity that successfully bridged the various artistic "camps" that formed with the shift in the art world in the post-World War II era. Doris Lee exploded onto the national scene in 1935 when her painting Thanksgiving was awarded the Art Institute of Chicago's Logan Prize and instigated the Sanity in Art movement in protest. Two years later, her painting Catastrophe was purchased by the Metropolitan Museum of Art. Simple Pleasures explores this initial national recognition in the 1930s within the context of American Scene painting, and traces the artist's thematic interest in the simple objects and scenes of the everyday through her career. It also examines the influence of the rise in abstraction during the late 1940s and 1950s, and the particular way in which this abstraction found resonance with Lee's long-held interest in, and collections of, folk and non-western art. During this post-war period, Lee, like many of her American Scene colleagues, found lucrative work in the heyday of commercial advertising. Lee's commercial commissions for patrons such as American Tobacco Company, Life magazine, Abbott Laboratories, and Associated American Artists are especially compelling in both their populist accessibility and in their deceptively sophisticated abstraction. Sixty-five works by the artist span the 1930s through the 1960s and are comprised of paintings, drawings, prints, and commissioned commercial designs in fabric and pottery. Included are advertisements by companies that commissioned images from Lee, and photographs that contextualise the artist's work within the Woodstock artist's community. AUTHORS: Barbara L. Jones is chief curator, The Westmoreland Museum of American Art, Greensburg, PA, and the author of Samuel Rosenberg: Portrait of a Painter (2003). Melissa Wolfe is curator of American Art, St. Louis Art Museum, and co-editor of Reflections: The American Collection of the Columbus Museum of Art (2019). John Fagg is professor of American Studies, University of Birmingham, UK, and author of 'That Abused Word: Genre': The 1930s Genre Painting Revival in The Space Between: Literature and Culture 1914-1945 (2011). Tom Wolf is professor of Art History at Bard College, NY and leading Yasuo Kuniyoshi scholar. 157 colour illustrations

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While critically recognized and praised, Bluhm's work has never received the level of attention that some of other contemporaries, like Joan Mitchell and Sam Francis. In part, this is the result of Bluhm's unwillingness to cater sufficiently to those in the commercial art world; but it is also due to changing art tastes in the 1960's, with the advent of Pop Art - which Bluhm found utterly lacking in beauty and passion - that placed Bluhm in a critical lacuna. The over eighty works featured here are interspersed with short texts and extended commentaries, and complemented with comparative images of ephemera or other short unpublished texts, such as Frank O'Hara's poems that formed part of a significant body of paintings produced by Bluhm in the early 1960s. Together the artworks chart the full trajectory of Bluhm's career over a period of 50 years. An introduction by Jay Grimm presents a more intimate, biographical approach to Bluhm's work, based on unpublished interviews with Cary Bluhm (Norman Bluhm's widow) and Jay's interviews with Norman Bluhm. The volume also features a previously unpublished interview by Paul Cummings with Norman Bluhm from 1969.

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This is is a unique and fascinating visual history of Japanese Buddhist art largely dating from the Edo period (1600–1868) to the present day, through one of the finest collections in the USA. The richly-illustrated text offers a concise introduction to diverse Japanese Buddhist practices and the central role art plays in them. Showcasing over 130 ornate and gold leafed paintings, textiles, ceramics, and sculptures from the Newark Museum’s extensive collection of Japanese Buddhist art, this volume provides access to hitherto unpublished masterpieces. It is divided into five parts: Buddha, Buddhas, and Bodhisattvas; Life and Death; Health and Wealth; Teachers and Students; and Tea Aesthetics and Implements. An essay, by guest author Dr. Ikumi Kaminishi of Tufts University, explores the tradition of illustrated storytelling (etoki) primarily performed by nuns in conjunction with painted narrative scrolls. Kaminishi accomplishes this through a detailed discussion of the Museum’s complete four painting set of the hagiography of Tokuhon (1758–1818) while posing a Buddhist reading of ukiyo the “floating world”. Edited by Katherine Anne Paul Contributions by Katherine Anne Paul and Ikumi Kaminishi Project Editor: Catherine Evans, The Newark Museum of Art Preface by Linda C. Harrison, The Newark Museum of Art’s Director & CEO

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The romantic and enigmatic character of this picture has inspired many theories about its subject, meaning, history, and even its attribution to Rembrandt. Several portrait identifications have been proposed, including an ancestor of the Polish Oginski family, which owned the painting in the eighteenth century, and the Polish Socinian theologian Jonasz Szlichtyng. The rider's costume, his weapons, and the breed of his horse have also been claimed as Polish. But if The Polish Rider is a portrait, it certainly breaks with tradition. Equestrian portraits are not common in seventeenth-century Dutch art, and furthermore, in the traditional equestrian portrait the rider is fashionably dressed and his mount is spirited and well-bred. The painting may instead portray a character from history or literature, and many possibilities have been proposed. Candidates range from the Prodigal Son to Gysbrech van Amstel, a hero of Dutch medieval history, and from the Old Testament David to the Mongolian warrior Tamerlane. It is possible that Rembrandt intended simply to represent a foreign soldier, a theme popular in his time in European art, especially in prints. Nevertheless, Rembrandt's intentions in The Polish Rider seem clearly to transcend a simple expression of delight in the exotic. The painting has also been described as a latter-day Miles Christianus (Soldier of Christ), an apotheosis of the mounted soldiers who were still defending Eastern Europe against the Turks in the seventeenth century. Many have felt that the youthful rider faces unknown dangers in the strange and somber landscape, with its mountainous rocks crowned by a mysterious building, its dark water, and the distant flare of a fire.

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In 1789, Jedidiah Morse described Newport and its environs as the “Eden of America” in the First Geography of the United States. In the nineteenth century landscape architects such as Frederick Law Olmsted created dramatic gardens by the sea for his wealthy clients, and artists from John Frederick Kensett to Henry James and Thornton Wilder celebrated the city as a verdant paradise in painting, poetry, and prose. America’s Eden: Newport Landscapes through the Ages builds on the city’s iconic reputation as a centuries-old paradise, and establishes Newport as a cultural landscape of national significance. The comprehensive history from European settlement to the present day is illustrated by a treasure trove of rare period maps, paintings and photographs by prominent artists, and drawings and sketches by leading designers. Ten chapters discuss topography, geology, and climate; the history of the city from the early days of colonial New England, through the Gilded Age estates, to the 21st century. A chapter on Living Legends emphasises the importance of Newport’s historic trees. The book serves as a critical resource guide encompassing landscape architecture, fine art, tree and plant propagation, and the conservation of natural sites. A rich story of art, history, design and horticulture awaits readers among the gardens, gazebos and trees of Newport.

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A completely new and revealing story of Pre- and Post-Columbian art as told through over sixty extraordinary artefacts now in the Jay I. Kislak Collection at the Library of Congress. The history of the early Americas is a story of before and after, defined and divided by a pivotal moment of contact between two distinct cultures. On the European side it is a tale of exploration, high-stakes treasure-seeking, and conquest. For indigenous Americans - including the Maya, the Nahua, the Taino, and the Wari - it is the beginning of the end, a violent saga of disease, enslavement, and the loss of languages and rituals. This collision of cultures comes to life in the manuscripts, maps, archaeological objects, and rare books that make up the collection of early American treasures in the Library of Congress in Washington, DC. Collecting for a New World: Treasures of the Early Americas relates these encounters through vivid illustrations and interpretive descriptions of more than sixty rare and priceless items. In describing for the first time the journeys of the objects themselves - via African shipwrecks, secret meetings on airstrips, discoveries in castle libraries, and journeys into unknown archaeological sites hidden deep in the jungles of Guatemala - curator John Hessler reveals the role played by private collectors, whose knowledge, vision, and - in many cases, philanthropy - contribute so significantly to the collective understanding and interpretation of history and culture. AUTHOR: When not searching through Maya ruins in Central America, climbing in the Alps or mountain biking through some jungle, John Hessler is the Curator of the Jay I. Kislak Collection of the Archaeology and History of the Early Americas at the Library of Congress and a Lecturer in Quantum Materials, Mechanics and Computing, in the Graduate School of Advanced Studies at Johns Hopkins University. Founder of the Archeo/LAB, his current teaching and research focuses on the theoretical materials science of archaeological remains, the topological structure of ancient DNA, and the quantum properties of ancient nano-materials like Maya Blue. A Fellow of the Royal Geographical Society in London, he is the co-director of the Mesoamerican Language, Theory and Decipherment Seminars, and is also on the faculty of the Rare Book School at the University of Virginia where he teaches a seminar called the History & Construction of the Mesoamerican Codex. The author of more than 100 books and articles, including, The New York Times bestseller MAP: Exploring the World, his research and writing has been featured in many national media outlets including Discover, Wired, CBS News, The New York Times, The Washington Post and most recently on NPRs All Things Considered. 100 colour illustrations

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WINNER OF THE AMERICAN CERAMIC CIRCLE AWARD 2021 A fascinating exploration of the inspiration behind, and development of, classically inspired sculpture and other ornamental wares in black basalt, the famous stoneware perfected by Josiah Wedgwood in 1768. Wedgwood, with prescience, said of his new creation: ‘Black is Sterling and will last forever.’ This volume presents approximately 120 examples of ornamental black basalt, including portrait busts, statues, and vases, ewers, and other fully three-dimensional, ornamental forms. Works in low relief include tablets, plaques, medallions, and cameos. The volume also features essays by renowned subject specialists and individual, fully illustrated catalogue entries which will be grouped into three chapters and organized according to the era—Classical Antiquity, 16th- and 17th-Centuries, 18th Century—of the design sources used by Wedgwood and his contemporaries to create their basalt wares.

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Trevor Paglen is an American artist, geographer, and author. What I want from art," says Paglen, "is to help see the historical moment we live in." His photographs make visible things we're not meant to see; he regards this invisibility as emblematic of that moment. Looking toward the earth, sea, or sky as earlier artists have, Paglen captures the same horizon seen by Turner in the nineteenth century or by Ansel Adams in the twentieth. Only in Paglen's images, a drone or classified communications satellite is also visible. "For me," Paglen observes, "seeing the drone in the twenty-first century is a bit like Turner seeing the train in the nineteenth century." Turner was less interested in the technology than its effects on perception, by its ability to accelerate human motion. Paglen is interested in our evolving perception in space. Standing in the Western landscape where Adams worked, Paglen photographs the drone as it photographs him. His images suggest that our conceptions of space and visuality are undergoing radical change; the physical limits of vision are no longer a reliable measure of what is visible to (often mechanical) others.Trevor Paglen: Sites Unseen is the first major career survey for the artist in the United States. it presents Paglen's key photographic series: Limit Telephotography; Tapped Underwater Cables and Cable Landing Sites; and The Other Night Sky and Untitled (Drones). Other works included are Code Names, NSA Triptych, 89 Landscapes, Trinity Cube, Autonomy Cube, and The Fence. The volume includes an essay by curator John Jacob; an essay by Luke Skrebowski of the University of Manchester; and a conversation between the artist and Wendy Hui Kyong Chun and Katherine Crawford.

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A major new illustrated volume on the visual diary of extraordinary artist and traveller Henriette, Baroness Hyde de Neuville, who lived and worked in America during the early nineteenth century. Artist in Exile is the first in-depth, illustrated exploration of the life and work of Anne Marguerite Josephine Henriette Rouillé de Marigny, Baroness Hyde de Neuville (1771–1849), who arrived in America in 1807 as a refugee from Napoleonic France and embarked on an extraordinary journey of discovery. Her unparalleled, beguiling, watercolours and drawings - over 200, made while travelling through seven countries and on the high seas, published here together with previously unpublished documents and letters - provide an invaluable historical visual record of the early years of the American Republic and its racially diverse population. From this exciting material Henriette emerges as a cosmopolitan artist who exerted her influence in political and social circles on both sides of the Atlantic, courageously traversing the European continent, unescorted, to beg Napoleon to spare her husband's life. Neuville's status as a woman, and an outsider, made her a particularly keen and sympathetic observer of individuals from a range of socioeconomic and ethnic backgrounds. She drew the earliest ethnographically correct images of indigenous Americans, together with vistas predating the works of other traveler-artists, and long-vanished buildings. Although she arrived in America as an outcast, by the end of her second residency, as the celebrated wife of the French Minister Plenipotentiary, she was interacting with political leaders and making her mark on society in Washington, DC and New York City. Artist in Exile tells her compelling story. AUTHOR: Roberta J.M. Olson, who received her Ph.D. in Art History from Princeton University, is Professor Emerita of Art History at Wheaton College in Massachusetts, and Curator of Drawings at the New-York Historical Society, where she has worked since 2000. 276 colour illustrations

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This latest volume in the critically-acclaimed Double Exposure series presents a range of photographic styles by celebrated photographers as well as snapshots by unknown amateurs. It also features photos by, amongst many others, Wayne F. Miller, Arthur Rothstein, Charles "Teenie" Harris, Al Pereira, Frank . Stewart, Jeanne Moutoussamy-Ashe and Dawoud Bey, who has just been named as MacArthur Foundation 2017 `Genius' Grant Winner. There are remarkable images by African American photographer John Johnson- whose plate glass negatives offer a rare glimpse into the everyday life of African Americans in Lincoln, Nebraska before World War I-and studio portraits by the Calvert Brothers of Nashville, Tennesse, and William J. Kuebler, Jr. of Philadelphia, Pennsylvania, from the early twentieth century. Personal reflections by photographers Builder Levy and Zun Lee, and contributions from collector Adreinne Waheed and curator Rhea L. Combs are new features in this series.

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Explores new approaches to portraying identity and the human face and figure, through works from the Smithsonian National Portrait Gallery's collections and other institutions. Is there more to portraiture than eyes meeting eyes? Beyond the Face: New Perspectives on Portraiture presents sixteen essays by leading scholars who explore the subtle means by which artists - and subjects - convey a sense of identity and reveal historical context. Examining a wide range of topics, from early caricature and political vandalism of portraits to contemporary selfies and performance art, these studies challenge our traditional assumptions about portraiture. By probing the diversity and complexity of portrayal, Beyond the Face fills a gap in current scholarship and offers a resource for teaching art history, subjectivity, and the construction of identity. AUTHOR: Wendy Wick Reaves is senior curator of prints and drawings, Smithsonian National Portrait Gallery. SELLING POINTS: . A general guide to the portraiture genre . Introduces the reader to fresh methodologies and modern studies . Explores new approaches to portraying the human face and figure 132 colour images

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"Wonder" celebrates the reopening of the Smithsonian s Renwick Gallery following a major renovation of its historic landmark building, the first purpose-built art museum in the United States. Nine major contemporary artists, including Maya Lin, Tara Donovan, Leo Villareal, Patrick Dougherty, and Janet Echelman, were invited to take over the Renwick s galleries, transforming the whole of the museum into an immersive cabinet of wonders. Mundane materials such as index cards, marbles, sticks, and thread are conjured into strange new worlds that demonstrate the qualities uniting these artists: a sensitivity to site and the ways we experience place, a passion for making and materiality, and a desire to provoke awe.A wide-ranging essay by Nicholas R. Bell connects these artworks to wonder s role throughout Western culture, to the question of how museums have evolved as places to encounter wondrous things, and to the symbolic weight of the moment as this building is dedicated to art for the third instance in three centuries. It is of no small consequence, writes Bell, that we, as a public, commit to the perpetuation of spaces that harbor the potential for subjective and intensive encounters with art. That we maintain museums for this purpose reveals wonder to be fundamental in our quest to establish who we are, and to grasp the universe beyond."

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Double Exposure is a major new series based on the remarkable photography collection held by the Earl W. and Amanda Stafford Center for African American Media Arts at the Smithsonian National Museum of African American History and Culture (NMAAHC), Washington, D.C.. From daguerreotype portraits taken before the Civil War, to twenty-first century digital prints, Double Exposure is a striking visual record of key historical events, cultural touchstones, and private and communal moments, that helps to illuminate African American life. Volume 2 commemorates the ongoing fight to fulfil the promise of freedom and equality for all American citizens, from the Civil War and Reconstruction to the present. It features powerful images from, for example, Leonard Freed's series, Black in White America, Ernest C. Withers photographs of the Sanitation Workers' Solidarity March in Nashville and Charles Moore's documentation of police brutality during the 1963 Birmingham Childrens' Crusade, AUTHOR: John Lewis is an American politician and civil rights leader who has served in the U.S. Congress since 1987. Former Chairman of the Student Nonviolent Coordinating Committee (SNCC), Lewis is considered an important leader of the civil rights movement. He was one of the original 13 Freedom Riders in 1960 who road on a bus from Washington, DC to New Orleans, LA to pressure the federal government to reinforce the law that segregating interstate travel was unconstitutional. Bryan Stevenson is Executive Director and Founder of the Equal Justice Initiative (EJI), a private, nonprofit law organization that focuses in the context of criminal justice reform in the United States. In 1995, he was awarded the prestigious MacArthur Fellowship Award Prize. He is also a 1989 recipient of the Reebok Human Rights Award, the 1991 ACLU National Medal of Liberty, the 2000 Olaf Palme Prize in Stockholm, Sweden for international human rights. He is the author of the bestselling memoir 'Just Mercy' (2014). Lonnie G. Bunch III is the founding director of the National Museum of African American History and Culture.

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