Search results for ""Author Painters"

Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: “Who hath ears to hear, let him hear.” There is no message without there first being—or, more subtly, without there also being in the message itself—an address to a capacity or an aptitude for listening. This is not an exhortation of the kind “Pay attention!” Rather, it is a warning: if you do not understand, the message will go away. The scene in the Gospel of John in which the newly risen Christ enjoins the Magdalene, “Noli me tangere,” a key moment in the general parable made up of his life, is a particularly good example of this sudden appearance in which a vanishing plays itself out. Resurrected, he speaks, makes an appeal, and leaves. “Do not touch me.” Beyond the Christ story, this everyday phrase says something important about touching in general. It points to the place where touching must not touch in order to carry out its touch (its art, its tact, its grace). The title essay of this volume is both a contribution to Nancy’s project of a “deconstruction of Christianity” and an exemplum of his remarkable writings on art, in analyses of “Noli me tangere” paintings by such painters as Rembrandt, Dürer, Titian, Pontormo, Bronzino, and Correggio. It is also in tacit dialogue with Jacques Derrida’s monumental tribute to Nancy’s work in Le toucher—Jean-Luc Nancy. For the English-language edition, Nancy has added an unpublished essay on the Magdalene and the English translation of “In Heaven and on the Earth,” a remarkable lecture he gave in a series designed to address children between six and twelve years of age. Closely aligned with his entire project of “the deconstruction of Christianity,’” this lecture may give the most accesible account of his ideas about God.

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Claude Monet (1840–1926) is one of the best-known and most beloved painters in the history of art, with myriad publications and exhibitions devoted to his oeuvre. And yet there remains a previously undiscovered aspect of his career: his surprisingly significant role as a draftsman. This book is the first to focus on Monet’s pastels, drawings, and sketchbooks, offering a revolutionary new interpretation of the artist’s life and work.Monet has long been seen as an anti-draftsman, an artist who painted his subjects directly and whose rarely seen graphic works were marginal to his artistic process. In an effort to develop his public image, Monet denied the role of drawing in his working method. In actuality, Monet began his career as a caricaturist and as a teenager developed a passion for drawing that was never extinguished. He went on to master the medium of pastel and included seven in the first Impressionist exhibition in 1874.Citing recently discovered, unpublished documents that overturn the accepted image of the artist, The Unknown Monet reveals an extensive group of graphic works created over the course of the artist’s career, many of which are unknown to the general public and to scholars: beautiful pastels, stunning black chalk drawings, and fascinating sketchbooks, which include pencil studies that relate to many of his paintings. The book also shows how Monet exploited the print media to promote his art.The most important publication on Monet to appear in a generation, this illuminating volume is essential to anyone interested in his work, Impressionism, and nineteenth-century French culture.Distributed for the Sterling and Francine Clark Art Institute, Williamstown, MassachusettsExhibition Schedule:Royal Academy of Arts, London (March 17 – June 10, 2007)Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (June 24 – September 16, 2007)

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Preface and Acknowledgments by Washburn S. Oberwager In 1865 the American landscape painter Frederic Edwin Church and his wife, Isabel, traveled to Jamaica on a sojourn of recovery after the tragic deaths of their two young children Herbert and Emma. A time to mourn and escape from the constant reminders found at their home, Olana, the Churches' trip to Jamaica also provided ample inspiration for Frederic. The Olana Collection includes eight oil sketches, an ink drawing, and a pencil drawing Church made in Jamaica. Five of these oil sketches on paper Church chose to mount to canvas and frame for his and Isabel's enjoyment; over the years they have hung in different rooms at Olana. From these works, and others held by the Cooper-Hewitt, Church created two major studio oils, The Vale of St. Thomas, Jamaica, 1867 (the Wadsworth Atheneum) and The After Glow, 1867 (the Olana Collection). Within Church's oeuvre the studies of Jamaican sunsets, mountains, and foliage are particularly lovely. Church wrote of Jamaica: "The scenery is superb.... I have accomplished a great amount of work—but there is so much to do that I am at a loss to decide day by day—what to paint." The 2010 exhibit at Olana will help explain Church's working process by showing Sunset Jamaica and the resulting studio work The After Glow together; it will include five works never before exhibited and reveal Church's interesting use of his photography collection both as an aide-mémoire and as substrate for sketching. Fern Hunting among Picturesque Mountains includes forty-eight color illustrations, as well as essays by Elizabeth Mankin Kornhauser (on Church's Jamaica work) and Katherine Manthorne (about Church's friends and fellow artists who also traveled to Jamaica to paint).

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The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier’s remarkable text forcibly asserts the originality and importance of Black artists’ work and emphasizes the need to understand Black art as a distinctive category of cultural production. She launches an important intervention into European histories of modern and contemporary art and visual culture as well as into debates within African American studies, African diasporic studies, and Black British studies.Artists featured: Larry Achiampong Hurvin Anderson Benny Andrews Rasheed Araeen Jean-Michel Basquiat Zarina Bhimji Sutapa Biswas Frank Bowling Sonia Boyce Vanley Burke Chila Kumari Burman Eddie Chambers Thornton Dial Godfried Donkor Kimathi Donkor Sokari Douglas Camp Melvin Edwards Mary Evans Nicola Frimpong Joy Gregory Bessiey Harvey Mona Hatoum Lubaina Himid Lonnie Holley Gavin Jantjes Claudette Johnson Tam Joseph Roshini Kempadoo Juginder Lamba Hew Locke Steve McQueen Chris Ofili Keith Piper Ingrid Pollard Thomas J. Price Noah Purifoy Faith Ringgold Donald Rodney Betye Saar Joyce J. Scott Yinka Shonibare Gurminder Sikand Marlene Smith Maud Sulter Barbara Walker Kara Walker Carrie Mae Weems Deborah Willis Hank Willis Thomas Lynette Yiadom-Boakye

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The years between the collapse of Reconstruction and the end of World War I mark a pivotal moment in African American cultural production. Christened the “Post-Bellum-Pre-Harlem” era by the novelist Charles Chesnutt, these years look back to the antislavery movement and forward to the artistic flowering and racial self-consciousness of the Harlem Renaissance. Post-Bellum, Pre-Harlem offers fresh perspectives on the literary and cultural achievements of African American men and women during this critically neglected, though vitally important, period of our nation's past. Using a wide range of disciplinary approaches, the sixteen scholars gathered here offer both a reappraisal and celebration of African American cultural production during these influential decades. Alongside discussions of political and artistic icons such as Booker T. Washington, W.E.B. Du Bois, Henry Ossawa Tanner, and James Weldon Johnson are essays revaluing figures such as the writers Paul and Alice Dunbar-Nelson, the New England painter Edward Mitchell Bannister, and Georgia-based activists Lucy Craft Laney and Emmanuel King Love. Contributors explore an array of forms from fine art to anti-lynching drama, from sermons to ragtime and blues, and from dialect pieces and early black musical theater to serious fiction. Contributors include: Frances Smith Foster, Carla L. Peterson, Gwendolyn DuBois Shaw, Audrey Thomas McCluskey, Barbara Ryan, Robert M. Dowling, Barbara A. Baker, Paula Bernat Bennett, Philip J. Kowalski, Nikki L. Brown, Koritha A. Mitchell, Margaret Crumpton Winter, Rhonda Reymond, and Andrew J. Scheiber.

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The first English translation of the Cubist poet’s most important collection of verse poems—a wild grab bag of contradictory styles When Max Jacob published The Central Laboratory in 1921, Parisian Dada had just officially come to an end and Surrealism was yet to be born. The poetic scene in Paris was between definitions, and Jacob embodied that moment. The Central Laboratory is distinctly modern, yet utterly discordant with anything else that had been published before: a grab bag of popular genres, operettas, Breton folk song, nonsense poetry, nursery rhyme, doggerel, parody and puns in which sound often trumps sense and Jacob changes register on a dime. Employing Symbolist obscure reference, Cubist fracturing of perspective and Dadaist discontinuity, Jacob’s art of mixed signals and mocked allegory formulates a camp sensibility, a “queering” of literary style as riddled with contradiction as Jacob himself had been in his lifetime. A century after its initial publication in French, the book remains utterly peculiar and lost for too long in the shadow of Jacob’s more famous book of prose poems, The Dice Cup. Jacob himself said of The Central Laboratory: “it sums up 20 years and reflects 20 states of soul, often 20 styles either suffered or created by me.” Max Jacob (1876–1944) was a French poet, painter, writer and critic. A key figure of bohemian Montmartre and the Cubist era, he rubbed shoulders with such figures as Apollinaire and Modigliani, and was a lifelong friend to Picasso, Gris and Cocteau. Jacob converted from Judaism to Christianity in 1915. Arrested by the Gestapo in 1944, he died in a deportation camp of pneumonia. Rosanna Warren's critically acclaimed biography of Jacob was published in 2020.

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The newly revised and updated Charleston: A Bloomsbury House & Garden is the definitive publication on the Bloomsbury Group's rural outpost in the heart of the Sussex Downs. “It’s absolutely perfect…”, wrote the artist Vanessa Bell when she moved to Charleston in 1916. For fifty years, Vanessa and her fellow painter Duncan Grant lived, loved and worked in this isolated Sussex farmhouse, together transforming the house and garden into an extraordinary work of art and creating a rural retreat for the Bloomsbury group. Now, Vanessa’s son, Quentin Bell, and her granddaughter Virginia Nicholson tell the inside story of their family home, linking it with some of the pioneering cultural figures who spent time there, including Vanessa’s sister Virginia Woolf, the economist Maynard Keynes, the writer Lytton Strachey and the art critic Roger Fry. Taking readers through each room of the house – from Clive Bell's Study, the Dining Room, the Kitchen and the Garden Room, through to individual bedrooms, the Studios and the Library – Quentin Bell relives old memories, including having T.S. Eliot over for a dinner party and staging plays in the Studio, while Virginia Nicholson details the artistic techniques (stencilling, embroidery, painting, sculpture, ceramics and more) used to embellish and enliven the once simple farmhouse. In this refreshed edition of the original 1997 publication, Gavin Kingcombe’s specially commissioned photographs breathe life into the colourful interiors and garden of the Sussex farmhouse, while updated text and captions by Virginia Nicholson capture the evolution of Charleston as it continues to inspire a new generation. For lovers of literature, decorative arts, and all things Bloomsbury, Charleston: A Bloomsbury House & Garden offers a window onto a truly unique creative hub.

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Toward the end of her life, Sarah Orne Jewett (1849–1909) made a surprising disclosure. Instead of the critically lauded The Country of the Pointed Firs, Jewett declared her “best story” to be A Marsh Island (1885), a little-known novel. Why? One reason is that it demonstrates Jewett’s range. Known primarily for her vignettes, Jewett accomplished in these pages a truly great novel. Undoubtedly, another reason lies in the novel’s themes of queer kinship and same-sex domesticity, as enjoyed by the flamboyant protagonist Dick Dale. Written a few years into Jewett’s decades-long companionship with Annie Fields, A Marsh Island echoes Jewett’s determination to split time between her family home in Maine and Fields’s place on Charles Street in Boston. The novel follows the adventures of Dale, a Manhattanite landscape painter in the Great Marsh of northeastern Massachusetts and envisions the latter region’s saltmarsh as a figure for dynamic selfhood: the ever-shifting boundaries between land and sea a model for valuing both individuality and a porous openness to the gifts of others. Jewett’s works played a major role in popularizing the genre of American regionalism and have garnered praise, both in her time and ours, for her skill in rendering the local landscapes and fishing villages along or near the coasts of New England. Just as Jewett brought attention to the unique beauty and value of the Great marsh region, editor Don James McLaughlin reveals a convergence of regionalism and sexuality in Jewett’s work in his introduction. A Marsh Island reminds us that queer kinship has a long tradition of being extended to incorporate queer ecological belonging, and that the meaning of “companionship” itself is enriched when we acknowledge its indebtedness to environment.

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Since the Mexican Revolution of 1910-1920, Mexico's rebellious peasant has become a subject not only of history but of literature, film, and paintings. With his sombrero, his machete, and his rifle, he marches or rides through countless Hollywood or Mexican films, killing brutal overseers, hacienda owners, corrupt officials, and federal soldiers. Some of Mexico's greatest painters, such as Diego Rivera, have portrayed him as one of the motive forces of Mexican history. Was this in fact the case? Or are we dealing with a legend forged in the aftermath of the Revolution and applied to the Revolution itself and to earlier periods of Mexican history? This is one of the main questions discussed by the international group of scholars whose work is gathered in this volume. They address the subject of agrarian revolts in Mexico from the pre-Columbian period through the twentieth century. The volume offers a unique perspective not only on Mexican riots, rebellions, and revolutions through time but also on Mexican social movements in contrast to those in the rest of Latin America. The contributors to the volume are Ulises Beltran, Raymond Buve, John Coatsworth, Romana Falcon, John M. Hart, Evelyn Hu-DeHart, Friedrich Katz, William K. Meyers, Enrique Montalvo Ortega, Herbert J. Nickel, Leticia Reina, William Taylor, Hans Werner Tobler, John Tutino, Arturo Warman, and Eric Van Young. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Claude Monet’s water lily paintings are among the most iconic and beloved works of art of the past century. Yet these entrancing images were created at a time of terrible private turmoil and sadness for the artist. The dramatic history behind these paintings is little known; Ross King’s Mad Enchantment tells the full story for the first time and, in the process, presents a compelling and original portrait of one of our most popular and cherished artists. By the outbreak of war in 1914, Monet, then in his mid-seventies, was one of the world’s most famous and successful painters, with a large house in the country, a fleet of automobiles and a colossal reputation. However, he had virtually given up painting following the death of his wife Alice in 1911 and the onset of blindness a year later. Nonetheless, it was during this period of sorrow, ill health and creative uncertainty that – as the guns roared on the Western Front – he began the most demanding and innovative paintings he had ever attempted. Encouraged by close friends such as Georges Clemenceau, France’s dauntless prime minister, Monet would work on these magnificent paintings throughout the war years and then for the rest of his life. So obsessed with his monumental task that the village barber was summoned to clip his hair as he worked beside his pond, he covered hundreds of yards of canvas with shimmering layers of pigment. As his ambitions expanded with his paintings, he began planning what he intended to be his legacy to the world: the ‘Musée Claude Monet’ in the Orangerie in Paris. Drawing on letters and memoirs and focusing on this remarkable period in the artist’s life, Mad Enchantment gives an intimate portrayal of Claude Monet in all his tumultuous complexity, and firmly places his water lily paintings among the greatest achievements in the history of art.

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In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.

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Investigating the central role that theories of the visual arts and creativity played in the development of fascism in France, Mark Antliff examines the aesthetic dimension of fascist myth-making within the history of the avant-garde. Between 1909 and 1939, a surprising array of modernists were implicated in this project, including such well-known figures as the symbolist painter Maurice Denis, the architects Le Corbusier and Auguste Perret, the sculptors Charles Despiau and Aristide Maillol, the “New Vision” photographer Germaine Krull, and the fauve Maurice Vlaminck.Antliff considers three French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in one instance, even defined the “dynamism” of fascist ideology in terms of Soviet filmmaker Sergei Eisenstein’s theory of montage. For these fascists, modern art was the mythic harbinger of a regenerative revolution that would overthrow existing governmental institutions, inaugurate an anticapitalist new order, and awaken the creative and artistic potential of the fascist “new man.”In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew primarily on the writings of the French political theorist Georges Sorel, whose concept of revolutionary myth proved central to fascist theories of cultural and national regeneration in France. Antliff analyzes the impact of Sorel’s theory of myth on Valois, Lamour, and Maulnier. Valois created the first fascist movement in France; Lamour, a follower of Valois, established the short-lived Parti Fasciste Révolutionnaire in 1928 before founding two fascist-oriented journals; Maulnier forged a theory of fascism under the auspices of the journals Combat and Insurgé.

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In the second edition of Sacred Passion, biographer Gregory Wolfe chronicles the artistic career of William Schickel (1919-2009) in the years since the original 1998 publication of this book by the University of Notre Dame Press. There are two new chapters, one on Schickel's recent contributions to the built environment in several communities, and the other on his recent paintings. There are 70 new color images, in addition to the 189 from the first edition, many of which have been replaced or enhanced. William Schickel was born in Stamford, Connecticut in 1919 and raised in Ithaca, New York. He graduated from the University of Notre Dame in 1944. His graduation project was the sculptural fountain "Living Water," now in the university's grotto. In a consistently productive career spanning more than six decades, Schickel has combined his skills as a sculptor, architectural designer, furniture designer, stained-glass artist, and painter with his deep personal faith to bring a healing vision to a number of American communities. In addition to his many paintings and ritual arts creations, Schickel's public works include the renovation of Gethsemani Abbey in Kentucky, for which he received the American Institute of Architects' Gold Medal Award; the Duchesne Memorial Shrine in St. Charles, Missouri; the Miami Valley Hospital Chapel in Dayton, Ohio; the "Rotunda of Creation" in the Cincinnati Center for Health and Wellness; the renovation of the Bellarmine Chapel in Cincinnati; the "Journeying with Christ" mural in the St. John Neumann Church in Canton, Michigan; and the Larry Hoffsis stained-glass window in the Epiphany Lutheran Church near Dayton, Ohio. Celebrating an artist of extraordinary faith, power, creativity, and dedication, the second edition of Sacred Passion is a tribute to William Schickel and his achievements.

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A beautiful and informative gift book devoted to Edward Bawden's representations of England. Edward Bawden (1903-1989) was a printmaker, painter, illustrator and designer. He studied and later taught at the Royal College of art, served as a war artist in WW2 and worked extensively as a commercial artist for companies including London Transport, Fortnum and Mason, Shell-Mex, the Folio Society and Chatto and Windus. Aside from the years he spent in France, the Middle East and North Africa while serving as a war artist, and later visits to Canada and Ireland, Bawden rarely travelled far from home, but found inspiration in the fields and farms of his native Essex, at the seaside, and in classic London scenes: Kew Gardens, the Royal Parks, the Tower of London and St Paul’s Cathedral, and the iron-and-glass monuments to Victorian engineering such as Liverpool Street station and the markets in Spitalfields and Smithfield. This book celebrates England as represented by Bawden in 85 works held in the V&A’s collection, including prints, posters, drawings, paintings, murals and advertising material. The illustrations include such early pieces as his poster Map of the British Empire for an exhibition in 1924; his mural English Garden Delights, designed for the Orient Line Navigation Company in 1946; illustrations for books including Good Food, The Gardener’s Diary and Life in an English Village; advertising work for London Transport, Shell and Fortnum & Mason; the poster Lifeguards, created to mark the coronation of Queen Elizabeth II in 1953; and a varied selection of linocuts and watercolours. As this book demonstrates, it was England, with its quiet landscapes, its pleasures and pastimes, its history and ceremonies, its traditions and recreations, that was the source of Bawden's finest and most engaging work.

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'Paradise haunts gardens', writes Derek Jarman, 'and it haunts mine.' Jarman's public image is that of a film-maker of genius, whose work, dwelling on themes of sexuality and violence, became a byword for controversy. But the private man was the creator of his own garden-paradise in an environment that many might think was more of a hell than a heaven - in the flat, bleak, often desolate expanse of shingle that faces the Dungeness nuclear power station. Jarman, a passionate gardener from childhood, combined his painter's eye, his horticultural expertise and his ecological convictions to produce a landscape which combined the flints, shells and driftwood of Dungeness; sculptures made from stones, old tools and found objects; the area's indigenous plants; and shrubs and flowers introduced by Jarman himself. This book is Derek Jarman's own record of how this garden evolved, from its earliest beginnings in 1986 to the last year of his life. More than 150 photographs taken since 1991 by his friend and photographer Howard Sooley capture the garden at all its different stages and at every season of the year. Photographs from all angles reveal the garden's complex geometrical plan, its magical stone circles and its beautiful and bizarre sculptures. We also catch glimpses of Jarman's life in Dungeness: walking, weeding, watering, or just enjoying life. Derek Jarman's Garden is the last book Jarman ever wrote. Like the garden itself, it remains as a fitting memorial to a brilliant and greatly loved artist who, against all odds, made a breathtakingly beautiful garden in the most inhospitable of places. It will appeal to all those who are themselves practising gardeners, as well as the legions of admirers of this extraordinary man.

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The first extensive study of the depiction of the armour in the Thun-Hohenstein Album against the vibrant artistic and cultural contexts that created it. In late medieval and early modern Europe, armour was more than a defensive technology for war or knightly sport. Its diverse types formed a complex visual language. Luxury armour was fitted precisely to a wearer's body, and its memorable details declared his status. Empty armour could evoke an owner's physical presence, prompting recollection of knightly personae, glittering pageantry, and impressive feats of arms. Its mnemonic power persisted long after the battle had ended, the trumpets had gone silent, and the dust had settled in the tournament arena. Previously believed to contain preliminary designs sketched by master armourers, the Thun-Hohenstein album is a bound collection of drawings by professional book painters depicting some of the most artistically and technologically innovative armours of the fifteenth and sixteenth centuries. Like a paper version of the princely armories that first formed during the 1500s, the album's images offered rich sites of meaning and memory. Their organization within the codex suggests the images' significance to their compiler. At the same time, the composition and details allow the reader to trace the transmission of recognizable armours, and the memories they embodied, from the anvil to the page. This book is the first to examine the album, and the armor it depicts, in their vibrant artistic and cultural context. In five thematic chapters, it moves from case studies of these drawings to explore the album's complex intersections with the genres of martial history, material culture, and literature. It also reveals the album's participation in cultures of remembrance that carried mythic, knightly personae constructed around powerful Habsburg princes forward in time from the Middle Ages into the early modern era, from the courts of the Holy Roman Empire to emerging urban audiences.

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The Pale King is David Foster Wallace's final novel - a testament to his enduring brillianceThe Internal Revenue Service Regional Examination Centre in Peoria, Illinois, 1985. Here the minutaie of a million daily lives are totted up, audited and accounted for. Here the workers fight a never-ending war against the urgency of their own boredom. Here then, squeezed between the trivial and the quotidian, lies all human life. And this is David Foster Wallace's towering, brilliant, hilarious and deeply moving final novel.'Breathtakingly brilliant, funny, maddening and elegiac' New York Times'A bravura performance worthy of Woolf or Joyce. Wallace's finest work as a novelist' Time'Light-years beyond Infinite Jest. Wallace's reputation will only grow, and like one of the broken columns beloved of Romantic painters, The Pale King will stand, complete in its incompleteness, as his most substantial fictional achievement' Hari Kunzru, Financial Times'A paradise of language and intelligence' The Times'Archly brilliant' Metro'Teems with erudition and ideas, with passages of stylistic audacity, with great cheerful thrown-out gags, goofy puns and moments of truly arresting clarity. Innovative, penetrating, forcefully intelligent fiction like Wallace's arrives once in a generation, if that' Daily Telegraph'In a different dimension to the tepid vapidities that pass as novels these days. Sentence for sentence, almost word for word, Wallace could out-write any of his peers' Scotland on SundayDavid Foster Wallace wrote the novels Infinite Jest and The Broom of the System, and the short-story collections Oblivion, Brief Interviews with Hideous Men and Girl with Curious Hair. His non-fiction includes Consider the Lobster, A Supposedly Fun Thing I'll Never Do Again, Everything and More, This is Water and Both Flesh and Not. He died in 2008.

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What is the force in art, C. Stephen Jaeger asks, that can enter our consciousness, inspire admiration or imitation, and carry a reader or viewer from the world as it is to a world more sublime? We have long recognized the power of individuals to lead or enchant by the force of personal charisma—and indeed, in his award-winning Envy of Angels, Jaeger himself brilliantly parsed the ability of charismatic teachers to shape the world of medieval learning. In Enchantment, he turns his attention to a sweeping and multifaceted exploration of the charisma not of individuals but of art. For Jaeger, the charisma of the visual arts, literature, and film functions by creating an exalted semblance of life, a realm of beauty, sublime emotions, heroic motives and deeds, godlike bodies and actions, and superhuman abilities, so as to dazzle the humbled spectator and lift him or her up into the place so represented. Charismatic art makes us want to live in the higher world that it depicts, to behave like its heroes and heroines, and to think and act according to their values. It temporarily weakens individual will and rational critical thought. It brings us into a state of enchantment. Ranging widely across periods and genres, Enchantment investigates the charismatic effect of an ancient statue of Apollo on the poet Rilke, of the painter Dürer's self-portrayal as a figure of Christ-like magnificence, of a numinous Odysseus washed ashore on Phaeacia, and of the black-and-white projection of Fred Astaire dancing across the Depression-era movie screen. From the tattoos on the face of a Maori tribesman to the haunting visage of Charlotte Rampling in a film by Woody Allen, Jaeger's extraordinary book explores the dichotomies of reality and illusion, life and art that are fundamental to both cultic and aesthetic experience.

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This publication features the work of French artist Eugène Louis Charvot (1847-1924), a distinguished painter and printmaker. Recognized in his time, Charvot's work was lost to history and has been rediscovered in Jacksonville Florida. A fascinating individual, Charvot practiced medicine for many years but stated that his first love was art. Thus, despite the rigors of a prestigious medical career, Charvot devoted himself to the pursuit of his muse throughout his life. Inspired by the serene countryside of his youth, Charvot became a landscapist, and made his debut in 1876 at the annual Salon in Paris. Spending his medical career in the French military, Charvot was posted in colonial Tunisia (1885-89) and Algeria (1892-96), where he documented the life around him and sent oils back to Paris for entry in the SalonsAfter Charvot's death in 1924, his work fell into obscurity. His family preserved his award-winning etchings, his landscapes and Orientalist paintings as well as his unpublished diary, family letters and sketchbooks. Charvot's daughter, Yvonne Charvot Barnett, brought the majority of his work to Jacksonville, Florida where the discovery of these extensive holdings has led to a reevaluation of Charvot's work and a resurrection of the reputation of this accomplished artist. The works now reside in the Cummer Museum of Art & Gardens, as the Charvot Collection. Through an in-depth review of his career as an artist, this new volume highlights Charvot's breadth of processes, productivity and inspiration in painting, etching and drawing. With a focus on family portraits, pastoral country scenes, nocturnes and North African genre and street scenes, the book weaves family photographs, journal entries and excerpts from family letters to recreate the world view that informed Charvot's oeuvre

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Following India’s independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an “Indianness” representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India’s precolonial past while embracing aspects of modernism’s pursuit of the new, and they challenged the West’s dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In Art for a Modern India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism—in painting, drawing, sculpture, architecture, film, and photography—in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism.Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.

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This book explores the responses of leading European avant-garde painters to the operas of Richard Wagner, the most influential composer of the late nineteenth century. The term avant-garde represents a twenty-first century evaluation of certain nineteenth-century artists working in a variety of advanced styles, rather than a phrase the artists applied to themselves. Chapters are on individual artists or groups, rather than an attempt to survey all of nineteenth-century Wagnerian visual art. They deal with paintings and drawings inspired by Wagner and his operas, not with the composer’s larger cultural influence through his writings and personal example. Thus artists such as Vincent Van Gogh and Paul Gauguin, who knew of Wagner’s music and writings but did not depict scenes from his operas, are not discussed in detail. The emphasis is on the diverse effects Wagner had on the works of leading avant-garde artists, varying according to their personalities and stylistic interests. The period beginning in the 1880s, often associated with post-Impressionism, was characterized by a movement away from realist subject matter to more personal or imaginary themes, a general intellectual trend of the fin-de-siècle. Wagner’s remote quasi-historical or mythological subjects fit well with this escapist tendency in the art and culture of the time, in part a return to the Romantic sensibility that was dominant in Wagner’s youth. Wagner’s influence peaked in the period between his death in 1883 and 1900, though a few long-lived artists continued their Wagnerian explorations from this era well into the early twentieth century. There is no “Wagner style” in art, yet Wagner’s pervasive influence is immediately evident in these works. Artists whose works are discussed include Eugène Delacroix, Henri Fantin-Latour, Odilon Redon, Max Klinger, James Ensor, Fernand Khnopff, John Singer Sargent and Aubrey Beardsley, among others.The book features 60 art reproductions, half of them in color.

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Presented for the first time in English, the recently discovered early manuscripts of the twentieth century’s most towering literary figure offer uncanny glimpses of his emerging genius and the creation of his masterpiece.One of the most significant literary events of the century, the discovery of manuscript pages containing early drafts of Marcel Proust’s In Search of Lost Time put an end to a decades-long search for the Proustian grail. The Paris publisher Bernard de Fallois claimed to have viewed the folios, but doubts about their existence emerged when none appeared in the Proust manuscripts bequeathed to the Bibliothèque Nationale in 1962. The texts had in fact been hidden among Fallois’s private papers, where they were found upon his death in 2018. The Seventy-Five Folios and Other Unpublished Manuscripts presents these folios here for the first time in English, along with seventeen other brief unpublished texts. Extensive commentary and notes by the Proust scholar Nathalie Mauriac Dyer offer insightful critical analysis.Characterized by Fallois as the “precious guide” to understanding Proust’s masterpiece, the folios contain early versions of six episodes included in the novel. Readers glimpse what Proust’s biographer Jean-Yves Tadié describes as the “sacred moment” when the great work burst forth for the first time. The folios reveal the autobiographical extent of Proust’s writing, with traces of his family life scattered throughout. Before the existence of Charles Swann, for example, we find a narrator named Marcel, a testament to what one scholar has called “the gradual transformation of lived experience into (auto)fiction in Proust’s elaboration of the novel.”Like a painter’s sketches and a composer’s holographs, Proust’s folios tell a story of artistic evolution. A “dream of a book, a book of a dream,” Fallois called them. Here is a literary magnum opus finding its final form.

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Multiple Exposures – Allen Jones & Photography explores the numerous ways in which artist Allen Jones has engaged with the possibilities of this medium. Historian Philippe Garner has researched Jones’s extensive archive to develop and present the insightful narratives implicit in this remarkable, often surprising selection of images. Studying at Hornsey School of Art, then at the Royal College of Art till 1961, Jones achieved swift success within a dynamic roster of artists celebrated as ‘The New Generation: 1964’ at the Whitechapel Gallery, London. Alongside his practice as a painter, sculptor, and printmaker, Jones nurtured an ongoing fascination with photography. This volume – an important addition to the literature on Jones’s oeuvre – reveals how he was first drawn as a student to the camera’s potential, making his earliest experiments in black and white. Through the sixty-plus years of Jones’s career – using camera and, more recently, iPad, and iPhone – photography has become ever-more integrated within his wider practice as an artist. We observe his incorporation of ‘found’ photographs within his early collaged works; we discover the photographs he has taken as a visual ledger of all that intrigues him; we see a telling selection of the imagery that he has collected, mostly drawn from vernacular sources, such as post cards, newspaper cuttings, and magazine tear-sheets; we find his playful images of his studio and its juxtapositions; and we follow his investigation of the ways in which his paintings and sculptures can interact and invite fresh readings when transmuted into photographs. The images in Multiple Exposures, mostly hitherto unpublished, are supported by an introductory text by Philippe Garner and by revelatory chapter introductions and pertinent pull-quotes by Allen Jones. The dynamic design of the book is by the legendary graphic artist David Hillman.

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The legend of Jean-Michel Basquiat is as strong as ever. Synonymous with 1980s New York, the artist first appeared in the late 1970s under the tag SAMO, spraying caustic comments and fragmented poems on the walls of the city. He appeared as part of a thriving underground scene of visual arts and graffiti, hip hop, post-punk, and DIY filmmaking, which met in a booming art world. As a painter with a strong personal voice, Basquiat soon broke into the established milieu, exhibiting in galleries around the world. Basquiat’s expressive style was based on raw figures and integrated words and phrases. His work is inspired by a pantheon of luminaries from jazz, boxing, and basketball, with references to arcane history and the politics of street life—so when asked about his subject matter, Basquiat answered “royalty, heroism and the streets.” In 1983 he started collaborating with the most famous of art stars, Andy Warhol, and in 1985 was on the cover of The New York Times Magazine. When Basquiat died at the age of 27, he had become one of the most successful artists of his time. First published in an XXL edition, this unprecedented insight into Basquiat’s art is now available in a compact, accessible volume in celebration of TASCHEN’s 40th anniversary. With pristine reproductions of his most seminal paintings, drawings, and notebook sketches, it offers vivid proximity to Basquiat’s intricate marks and scribbled words, further illuminated by an introduction to the artist from editor Hans Werner Holzwarth, as well as an essay on his themes and artistic development from curator and art historian Eleanor Nairne. Richly illustrated year-by-year chapter breaks follow the artist’s life and quote from his own statements and contemporary reviews to provide both personal background and historical context.

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From the #1 Flemish crime writer, “an atmospheric, noir-tinged tale about a stubborn cop who just won’t quit, even if he is dead” (Kirkus Reviews). But will that stop him from catching his own murderer?A serial killer is on the loose in Ostend, Belgium. Nicknamed The Stuffer, the mysterious killer fills his victims full of sand and poses them as public art installations—and the once idyllic beach town is in a panic. The fact that Rafael Styx is on the case is no comfort. The corrupt, middle-aged cop has a bum hip, a bad marriage, and ties to the Belgian underworld, but no leads. And if he wants to catch the killer before he’s replaced by the young, ambitious, and flamboyant new cop, Detective Delacroix, he’ll have to take matters into his own hands. When a chance encounter puts him face to face with The Stuffer, Rafael’s life is cut short by a gun to the chest. But the afterlife has only just begun: Styx wakes up a zombie. Gradually he realizes his unique position. Not only is his body in decay, now that he exists between life and death, he can enter the Ostend of a different time. There he meets the surrealist painter, Paul Delvaux, who gives Styx his first clue about the killer. With a new lead and a fresh start, the dirty cop decides to change his ways, catch The Stuffer, and restore his honor. But with his new decaying body and hunger for human flesh getting in the way, he’ll need his old rival, Detective Delacroix to help him out. “Taut, atmospheric, and suspenseful” (Booklist, starred review), Styx is an exciting thriller with an intriguing protagonist and evocative setting. Like the best of Jo Nesbo, the “gritty, hard-boiled tone is spot-on [in this] entertaining and moving read” (Publishers Weekly).

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Through attuned close readings, this volume brings out the imaginative and formal brilliance of Percy Bysshe Shelley's writing as it explores his involvement in processes of dialogue and influence. Shelley recognizes that poetic individuality is the reward of connectedness with other writers and cultural influences. 'A great Poem is a fountain forever overflowing with the waters of wisdom and delight', he writes, 'and after one person and one age has exhausted all its divine effluence which their peculiar relations enable them to share, another and yet another succeeds, and new relations are ever developed, the source of an unforeseen and an unconceived delight' (A Defence of Poetry). He is among the major Romantic poetic exponents and theorists of influence, because of his passionately intelligent commitment to the onward dissemination of ideas and feelings, and to the unpredictable ways in which poets position themselves and are culturally positioned between past and future. The book has a tripartite structure. The first three chapters seek to illuminate his response to representative texts, figures, and themes that constitute the triple pillars of his cultural inheritance: the classical world (Plato); Renaissance poetry (Spenser and Milton); Christianity and, in particular, the concept of deity and the Bible. The second and major section of the book explores Shelley's relations and affinities with, as well as differences from, his immediate predecessors and contemporaries: Hazlitt and Lamb; Wordsworth; Coleridge; Southey; Byron; Keats (including the influence of Dante on Shelley's elegy for his fellow Romantic) and the great painter J. M. W. Turner, with whom he is often linked. The third section considers Shelley's reception by later nineteenth-century writers, figures influenced by and responding to Shelley including Beddoes, Hemans, Landon, Tennyson, and Swinburne. A coda discusses the body of critical work on Shelley produced by A. C. Bradley, a figure who stands at the threshold of twentieth-century thinking about Shelley.

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In August 1858, William James Stillman, a painter and founding editor of the acclaimed but short-lived art journal The Crayon, organized a camping expedition for some of America's preeminent intellectuals to Follensby Pond in the Adirondacks. Dubbed the "Philosophers’ Camp," the trip included the Swiss American scientist and Harvard College professor Jean Louis Rodolphe Agassiz, the Republican lawyer and future U.S. attorney general Ebenezer Rockwood Hoar, the Cambridge poet James Russell Lowell, and the transcendental philosopher Ralph Waldo Emerson, who would later pen a poem about the experience. News that these cultured men were living like "Sacs and Sioux" in the wilderness appeared in newspapers across the nation and helped fuel a widespread interest in exploring the Adirondacks.In this book, James Schlett recounts the story of the Philosophers’ Camp, from the lives and careers of—and friendships and frictions among—the participants to the extensive preparations for the expedition and the several-day encampment to its lasting legacy. Schlett’s account is a sweeping tale that provides vistas of the dramatically changing landscapes of the United States in the second half of the nineteenth century. As he relates, the scholars later formed an Adirondack Club that set out to establish a permanent encampment at nearby Ampersand Pond. Their plans, however, were dashed amid the outbreak of the Civil War and the advancement of civilization into a wilderness that Stillman described as "a not too greatly changed Eden." But the Adirondacks were indeed changing.When Stillman returned to the site of the Philosophers’ Camp in 1884, he found the woods around Follensby had been disfigured by tourists. Development, industrialization, and commercialization had transformed the Adirondack wilderness as they would nearly every other aspect of the American landscape. Such devastation would later inspire conservationists to establish Adirondack Park in 1892. At the close of the book, Schlett looks at the preservation of Follensby Pond, now protected by the Nature Conservancy, and the camp site’s potential integration into the Adirondack Forest Preserve.

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Investigates Shakespeare's mode of composition and the way contemporary psychology informs dramatic representation through ekphrasis Describes Shakespeare's own ingenuity and his dramatizations of ingenuity according to classical and renaissance accounts of this activity Explains and illustrates in his plays the function of fantasy in reading the external world, as described in contemporary psychology Participates in the current scholarly interest in the intertextuality of theatrical scripts Traces Shakespeare's adaptations of the hybrid genre tragicomedy from his problem plays" to The Winter's Tale and demonstrates his use of the writings of Giraldi Cinzio and Battista Guarini to give unique shape to this late work Drawing inspiration from Robert Greene's deathbed attack on Shakespeare as "an upstart crow, beautified with our feathers," The Bodger (Elizabethan variant of "botcher," "mender," "patcher") argues that Shakespeare's dramas are compositions of "shreds and patches" pieced together by a mind of extraordinary synthetic acuity. Such patches include passages of dialogue that, as described in the sixteenth century, "lead objects before our eyes" by means of ekphrasis. The book offers substantial art-historical research into the only visual artist named by Shakespeare, Giulio Romano--who performs an important role in The Winter's Tale as the alleged sculptor of a statue of the dead Queen. Giulio, heir to Raphael's workshop, is known primarily as a painter and architect. My research has revealed that he was also a designer of sculpture. Applying historical and theoretical materials to close readings of several plays, I focus on the most critical issues of The Winter's Tale King Leontes' sudden fit of jealousy; Shakespeare's introduction of a surrogate playwright in the personification of Time, who refashions the play from tragedy to comedy, assisted by a behind-the-scenes female ghost writer; and the Queen's statue amazingly "coming to life" through an interactive declaration of faith. "

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For decades now, Adam Gopnik has been one of our most beloved writers, a brilliantly perceptive critic of art, food, France, and more. But recently, he became obsessed by a more fundamental matter, one he had often meditated on in The New Yorker: How do masters learn their miraculous skill, whether it was drawing a museum-ready nude or baking a perfect sourdough loaf? How could anyone become so good at anything? There seemed to be a fundamental mystery to mastery. Was it possible to unravel it? In The Real Work—the term magicians use for the accumulated craft that makes for a great trick—Gopnik becomes a dedicated student of several masters of their craft: a classical painter, a boxer, a dancing instructor, a driving instructor, and others. Rejecting self-help bromides and bullet points, he nevertheless shows that the top people in any field share a set of common qualities and methods. For one, their mastery is always a process of breaking down and building up—of identifying and perfecting the small constituent parts of a skill and the combining them for an overall effect greater than the sum of those parts. For another, mastery almost always involves intentional imperfection—as in music, where vibrato, a way of not quite landing on the right note, carries maximum expressiveness. Gopnik’s simplest and most invigorating lesson, however, is that we are surrounded by mastery. Far from rare, mastery is commonplace, if we only know where to look: from the parent who can whip up a professional strudel to the social worker who—in one of the most personally revealing passages Gopnik has ever written—helps him master his own demons. Spirited and profound, The Real Work will help you understand how mastery can happen in your own life—and, significantly, why each of us relentlessly seeks to better ourselves in the first place.

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Volume XI contains the histories of two scat-tered hundreds. The parishes of Downton hundred are ranged along the southern county boundary, and those of Elstub and Everleigh hundred are centred on Enford in the Avon valley but have outliers throughout Wiltshire. Downton hundred represents the Wiltshire lands of the see of Winchester, Elstub and Everleigh the estates administered by the cathedral priory of St. Swithun, Winchester. Though lacking geographical cohesion, both hundreds are characterized by open downland and chalk streams. Much downland on either side of the Avon valley is now in Ministry of Defence ownership and Everleigh Manor is an army research laboratory. The downsand rivers have always afforded good sport. Cours-ing was formerly popular at Netheravon and Everleigh. Racehorses are still trained at Wroughton. Downton and Hindon, a 'new town' of the early 13th century, were local market centres. Both were parliamentary boroughs until 1832-. Some industries have been of more than local importance. At Westwood on the Somerset border limestone was quarried and woollen cloth and other textiles were made from the Middle Ages until the Second World War. Old Court at Avoncliff, later used as a work-house, was built to house textile workers c.1792. Sarsens cut at Overton in the Kennet valley were supplied to a wide market from the mid 19th century tothe mid 20th. Tanning has flourished at Downton since the 17th century. Watercress for London, Bristol, and Plymouth has been grown in Bishopstone since 1890. Country houses include Standlynch, renamed Trafalgar, House, the nation's gift to Nelson's heirs in 1815, and Ham Spray House on the Berkshire border, the home of Lytton Strachey and the painter Dora Carrington in the 1920s.

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Based on the BBC television series, John Berger's Ways of Seeing is a unique look at the way we view art, published as part of the Penguin on Design series in Penguin Modern Classics.'Seeing comes before words. The child looks and recognizes before it can speak.''But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.' John Berger's Ways of Seeing is one of the most stimulating and influential books on art in any language. First published in 1972, it was based on the BBC television series about which the Sunday Times critic commented: 'This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures.' By now he has.John Berger (b. 1926) is an art critic, painter and novelist.born in Hackney, London. His novel G. (1972) won both the James Tait Black Memorial Prize and the Booker Prize. If you enjoyed Ways of Seeing, you might like Susan Sontag's On Photography, also available in Penguin Modern Classics.'Berger has the ability to cut right through the mystification of professional art critics ... he is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation'Peter Fuller, Arts Review'The influence of the series and the book ... was enormous ... It opened up for general attention areas of cultural study that are now commonplace'Geoff Dyer in Ways of Telling'One of the most influential intellectuals of our time'Observer

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Georges de La Tour's haunting depiction of a repentant Mary Magdalen gazing into a mirror by candlelight; Jean Simeon Chardin's perfectly balanced image of a young boy making a house of cards; Jean Honore Fragonard's monumental suite of landscapes showing aristocrats at play in picturesque gardens--these are among the familiar and beloved masterpieces in the National Gallery of Art, which houses one of the most important collections of French old master paintings outside France. This lavishly illustrated book, written by leading scholars and the result of years of research and technical analysis, catalogues nearly one hundred paintings, from works by Francois Clouet in the sixteenth century to paintings by elisabeth Louise Vigee Le Brun in the eighteenth. French art before the revolution is characterized by an astonishing variety of styles and themes and by a consistently high quality of production, the result of an efficient training system developed by the traditional guilds and the Royal Academy of Painting and Sculpture, founded in 1648 by King Louis XIV. The National Gallery collection reflects this quality and diversity, featuring excellent examples by all the leading painters: ideal landscapes by Claude Lorrain and biblical subjects by Nicolas Poussin, two artists who spent most of their careers in Rome; deeply moving religious works by La Tour, Sebastien Bourdon, and Simon Vouet; portraits of the grandest format (Philippe de Champaigne's Omer Talon) and the most intimate (Nicolas de Largillierre's Elizabeth Throckmorton); and familiar scenes of daily life by the Le Nain brothers in the seventeenth century and Chardin in the eighteenth. The Gallery's collection is especially notable for its holdings of eighteenth-century painting, from Jean Antoine Watteau to Hubert Robert, and including marvelous suites of paintings by Francois Boucher and Fragonard. All these works are explored in detailed, readable entries that will appeal as much to the general art lover as to the specialist.

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In many arenas the debate is raging over the nature of sexual orientation. Queer Words, Queer Images addresses this debate, but with a difference, arguing that homosexuality has become an issue precisely because of the way in which we discuss, debate, and communicate about the concept and experience of homosexuality. The debate over homosexuality is fundamentally an issue of communication—as we can see by the recent controversy over gays in the military. This controversy, termed by one gay man as the annoying habit of heterosexual men to overestimate their own attractiveness, has been debated in communication-sensitive terms, such as morale and discipline. The twenty chapters address such subjects as gay political language, homosexuality and AIDS on prime-time television, the politics of male homosexuality in young adult fiction, the identification of female athleticism with lesbianism, the politics of identity in the works of Edmund White, and coming out strategies. This is must reading for students of communication practices and theory, and for everyone interested in human sexuality. Contributing to the book are: James Chesebro (Indiana State), James Darsey (Ohio State), Joseph A. Devito (Hunter College, CUNY), Timothy Edgar (Purdue), Mary Anne Fitzpatrick (Wisconsin, Madison), Karen A. Foss (Humboldt State), Kirk Fuoss (St. Lawrence), Larry Gross (Pennsylvania), Darlene Hantzis (Indiana State), Fred E. Jandt (California State, San Bernardino), Mercilee Jenkins (San Francisco State), Valerie Lehr (St. Lawrence), Lynn C. Miller (Texas, Austin), Marguerite Moritz (Colorado, Boulder), Fred L. Myrick (Spring Hill), Emile Netzhammer (Buffalo State), Elenie Opffer, Dorothy S. Painter (Ohio State), Karen Peper (Michigan), Nicholas F. Radel (Furman), R. Jeffrey Ringer (St. Cloud State), Scott Shamp (Georgia), Paul Siegel (Gallaudet), Jacqueline Taylor (Depaul), Julia T. Wood (North Carolina, Chapel Hill).

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The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners. Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The "Africanization" of Anglo-Celtic tunes created minstrelsy's musical "creole synthesis," a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music. Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange.

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Everyday Sketching and Drawing offers an easy-to-follow, 5-step formula, which teaches beginner-friendly techniques for learning the skills necessary to make drawing and sketching an everyday habit. For those who have always wanted to or tried and failed to learn to draw it provides simple step-by-step instruction, plus easy-to-follow practice exercises, and provides the motivation and inspiration readers need to be successful. For those who already draw, Everyday Sketching and Drawing offers another technique to add to their drawing arsenal. Why do so many adults come to view drawing as difficult or fraught with anxiety? Traditional art instruction is often bogged down with jargon, rules, and admonishments that unintentionally stifle the joy of drawing for its own sake. Steven Reddy's new and easy approach to drawing instructs sketchers to document their unique and compelling lives in realistic yet playful sketches that record the places, spaces, and objects that help define them as individuals. He reminds artists to slow down, notice, and attend to the sketch-worthy scenes and subjects that are unstaged and always there in our everyday lives. He offers a versatile technique that can lead to a skill that fills sketchbooks with the visual details that differentiate one life from another. This approach is a meditative, relaxing alternative to academic concerns about perspective, proportion, and accuracy. Reddy encourages artists to capture in whimsical but detail-specific illustrations their unique, subjective interpretation of their visual surroundings. Steven Reddy's drawing method produces extremely detailed and realistic scenes of objects and scenes in everyday life in a relatively short period of time (60 minutes to 3 hours or more, depending on the sketcher's preference). Modifying a technique utilized by Old Master oil painters, the drawings pass through 5 clearly articulated stages where each step focuses on one visual concept at a time.

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Callum Innes is one of the few artists working in abstraction to include watercolour as a major part of his practice. As with many painters, his explorations in this medium form a parallel body of work, an activity taken on as a kind of ‘break’ from his other painting, with different circumstances, conditions and intentions. Innes has been making watercolours for more than 25 years. He began to explore the medium when he was asked to do a show at the Kunsthaus, in Zurich. He says: "I blithely said yes to an exhibition without ever having made a watercolour before. It caused a lot of stress at the time, but I gradually developed a way of working with paper and pigment. I am still making watercolours, although they have changed over the years, and now I realise that they inform the oil paintings more and more. When you place two pigments together, either opposite or complementary, and then dissolve them in water you achieve a completely new colour which only reveals itself on the paper. I am often surprised and disappointed in the same hour. "It has been a couple of years since I last spent time with watercolours. When lockdown occurred, in March 2020, I was setting up a new studio, overlooking a fjord in Oslo. It was unfamiliar, and I had no reference to earlier works as I do in Edinburgh. I started to work on a new watercolour series, focusing on them for a week at a time, always starting the day with a black and white one, just to get my hand in … the black and white ones are the most elusive. "This new body of 50 watercolours feels stronger and more luminous than previous ones. I have kept them sequential in the book, to show how each work informs the next and so on."

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In less than a generation, the dominant image of American cities has transformed from one of crisis to revitalization. Poverty, violence, and distressed schools still make headlines, but central cities and older suburbs are attracting new residents and substantial capital investment. In most accounts, native-born empty nesters, their twentysomething children, and other educated professionals are credited as the agents of change. Yet in the past decade, policy makers and scholars across the United States have come to understand that immigrants are driving metropolitan revitalization at least as much and belong at the center of the story. Immigrants have repopulated central city neighborhoods and older suburbs, reopening shuttered storefronts and boosting housing and labor markets, in every region of the United States. Immigration and Metropolitan Revitalization in the United States is the first book to document immigrant-led revitalization, with contributions by leading scholars across the social sciences. Offering radically new perspectives on both immigration and urban revitalization and examining how immigrants have transformed big cities such as New York, Chicago, and Los Angeles, as well as newer destinations such as Nashville and the suburbs of Boston and New Jersey, the volume's contributors challenge traditional notions of revitalization, often looking at working-class communities. They explore the politics of immigration and neighborhood change, demolishing simplistic assumptions that dominate popular debates about immigration. They also show how immigrants have remade cities and regions in Latin America, Africa, and other places from which they come, linking urbanization in the United States and other parts of the world. Contributors: Kenneth Ginsburg, Marilynn S. Johnson, Michael B. Katz, Gary Painter, Robert J. Sampson, Gerardo Francisco Sandoval, A.K. Sandoval-Strausz, Thomas J. Sugrue, Rachel Van Tosh, Jacob L. Vigdor, Domenic Vitiello, Jamie Winders.

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Part of the critically acclaimed Little People, BIG DREAMS series, discover the incredible life of Georgia O'Keeffe, one of America's greatest artists, in this true story of a talented painter who broke boundaries. As a child, little Georgia viewed the world differently from other people. She roamed outdoors with her sketch book, while other girls played. As an adult, she painted all day. From New York City to New Mexico, she was influenced by the landscapes of her environment. As her paintings became more popular, she became one of the most succesful artists of her generation, and an inspiring role model for young girls everywhere who wanted to express themselves creatively. This moving book features stylish and quirky illustrations and extra facts at the back, including a biographical timeline with historical photos and a detailed profile of the artist's life.Little People, BIG DREAMS is a bestselling biography series for kids that explores the lives of outstanding people, from designers and artists to scientists and activists. All of them achieved incredible things, yet each began life as a child with a dream. This empowering series of books offers inspiring messages to children of all ages, in a range of formats. The board books are told in simple sentences, perfect for reading aloud to babies and toddlers. The hardback and paperback versions present expanded stories for beginning readers. With rewritten text for older children, the treasuries each bring together a multitude of dreamers in a single volume. You can also collect a selection of the books by theme in boxed gift sets. Activity books and a journal provide even more ways to make the lives of these role models accessible to children.Inspire the next generation of outstanding people who will change the world with Little People, BIG DREAMS!

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This beautifully illustrated book seeks to tell children the true, diverse and decolonised story of art around the world. Even before they could write, people were telling stories with pictures. And though art is universal, the story we know about it is not. A Whole World of Art opens your eyes to a global view of art by taking you on a whirlwind tour around the world and through time. With two companions – a boy and a girl – travel through 25 destinations from the history of art, circling the globe. As they travel, they explore the rich visual canon from each culture they visit through looking at different key works and examine the lives of the artists who created them.Each spread shows a stunning, edge-to-edge illustrated scene from art history portraying an artist or artists making important artwork within a detailed background. A paragraph of introductory text and small captions around the page give fascinating details about the artists and the time and place in which they lived. Art project ideas provide inspiration throughout. Visit: Athens, Greece (450 BCE), where you will marvel at the gleaming gold statues and marble architecture; The Ming Dynasty, China (1368–1644), where you will discover intricate designs, drawings and calligraphy on paper and porcelain; Benin City, Africa (1550), where you will meet the brass-casters who create elaborately detailed plaques and ornaments only for the Oba (or king); Coyoacan, Mexico (1907–1954), where you will get to know the painters Frida Kahlo and Diego Rivera; Written by art history teacher Dr Sarah Phillips, who rewrote and decolonised the A Level syllabus in the UK, and illustrated by talented artist Dion Mehaga Bangun Djayasaputra, this gorgeous book offers a fresh, inclusive view of the history of art.

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"For Brooklyn poet Anselm Berrigan, the political arrives in pieces, settling across his sprawling poems like dew or debris. Berrigan has always matched his experimental drive with a personable quality."--Michael Brodeur, Boston Globe "Anselm Berrigan's voice continues be one of the most refreshing in contemporary American poetry." --Virginia Konchan, Galatea Resurrects In Come in Alone, Anselm Berrigan plays with space like a painter with the prosody of a poet. Written as infinitely looping sentences around the page, the poems act as a frame to space, outrunning thought with quickness, openness, humor, and protest. They are simultaneously inviting and impermeable, making familiar language uncanny with every turn around the page. pre-labor stress with all-star fatigue as day glo habit turning exquisite grime into corners Anselm Berrigan is the current poetry editor for the Brooklyn Rail, and co-editor with Alice Notley and Edmund Berrigan of the Collected Poems of Ted Berrigan (U. California, 2005) and the Selected Poems of Ted Berrigan (U. California, 2011). From 2003 to 2007 he was Artistic Director of The Poetry Project at St. Mark's Church, where he also hosted the Wednesday Night Reading Series for four years. He is Co-Chair of Writing at the Milton Avery Graduate School of the Arts interdisciplinary MFA program, and also teaches part-time at Brooklyn College. He was awarded a 2015 Process Space Residency by the Lower Manhattan Cultural Council, and in 2014 he was awarded a Robert Rauschenberg Residency by the Robert Rauschenberg Foundation. He was a New York State Foundation for the Arts fellow in Poetry for 2007, and has received three grants from the Fund for Poetry. He lives in New York City, where he also grew up.

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SHORTLISTED FOR THE 2022 T. S. ELIOT PRIZESHORTLISTED FOR THE 2023 RATHBONES FOLIO PRIZEA GUARDIAN AND FINANCIAL TIMES BOOK OF THE YEAR 'A wonder of a collection' Caleb Azumah Nelson'Thrilling ... once-in-a-generation' Jackie Kay'Genius ... tells a thousand stories in stunningly crafted verse' Nikita Gill'Remarkable, textured ... Yomi Sode is a beautiful storyteller' Candice Carty-Williams'Heartbreaking ... This debut is the living heart and soul of contemporary poetry' Pascale Petit'Vivid, beautiful and deeply moving' Rt Hon Diane Abbott MP'Yomi Sode writes with clarity, anger and love' Andrew Graham-Dixon'Searing, shimmering, brilliant' Yrsa Daley-Ward'A must for all lovers of poetry and its power' Roger Robinson'Manorism is a classic' Caleb FemiImpassioned, insightful, electric, Manorism is a poetic examination of the lives of Black British men and boys: propped up and hemmed in by contemporary masculinity, deepened by family, misrepresented in the media, and complicated by the riches, and the costs, of belonging and inheritance. It is also an exploration of the differences of impunity afforded to white and Black people, and to white and Black artists.Caravaggio - originally, unexpectedly - looms large: as a man who moved between spheres of exalted patronage and petty criminality; as a painter who, amid the elegant conventions of late Mannerism, forged his own style of visceral dark and light; and as an individual whose recognized genius was allowed to legitimate and excuse his violence.In this profound and moving debut, Yomi Sode asks: what does it mean to find oneself between worlds - to 'code-switch', adapting one's speech and manners to widely differing cultural contexts? Who is, and who isn't, allowed to be more than their origins? And what do we owe each other? What do we owe ourselves?

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The first major English-language biography of Francisco Goya y Lucientes, who ushered in the modern eraThe life of Francisco Goya (1746–1828) coincided with an age of transformation in Spanish history that brought upheavals in the country's politics and at the court which Goya served, changes in society, the devastation of the Iberian Peninsula in the war against Napoleon, and an ensuing period of political instability. In this revelatory biography, Janis Tomlinson draws on a wide range of documents—including letters, court papers, and a sketchbook used by Goya in the early years of his career—to provide a nuanced portrait of a complex and multifaceted painter and printmaker, whose art is synonymous with compelling images of the people, events, and social revolution that defined his life and era.Tomlinson challenges the popular image of the artist as an isolated figure obsessed with darkness and death, showing how Goya's likeability and ambition contributed to his success at court, and offering new perspectives on his youth, rich family life, extensive travels, and lifelong friendships. She explores the full breadth of his imagery—from scenes inspired by life in Madrid to visions of worlds without reason, from royal portraits to the atrocities of war. She sheds light on the artist's personal trials, including the deaths of six children and the onset of deafness in middle age, but also reconsiders the conventional interpretation of Goya's late years as a period of disillusion, viewing them instead as years of liberated artistic invention, most famously in the murals on the walls of his country house, popularly known as the "black" paintings.A monumental achievement, Goya: A Portrait of the Artist is the definitive biography of an artist whose faith in his art and his genius inspired paintings, drawings, prints, and frescoes that continue to captivate, challenge, and surprise us two centuries later.

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Welcome to Berecombe-by-the-Sea for a year of very special celebrations… This year sees the seventy-fifth anniversary of D-Day. We owe an enormous debt of gratitude to those brave boys who went to fight on French beaches for our freedom. And now Berecombe is playing host to our American allies once more. All surviving soldiers who were billeted in the town have been invited for street parties, a D-Day parade, a black-tie ball at The Henville and much, much more. So, come along, get dressed up and join in the fun! A second chance…or a new romance? With summer having arrived in Berecombe with sunshiny gusto, and the D-Day anniversary celebrations on the horizon, there’s much to keep Ashley Lydden busy as she settles further into her new life by the seaside. So why can’t she stop thinking about Eddie McQueen? They came so close to having it all, but now Ashley isn’t sure where they stand. With flirty Cornish painter Jake Tremayne taking a shine to Ashley and asking her to sit for a portrait, things get even more complicated. It’s shaping up to be a summer of love…but which man will claim Ashley’s heart? Readers are LOVING The Great Summer Street Party: ‘A delightful escapism read and a beautiful story that brought back lots of memories of my Nan’ Helen ‘Packed with romance, celebrations, starting life again and lots of see, sun and sand…a lovely friendship and community vibe’ Meena ‘What a lovely blend of romance and historical fiction surrounding the soldiers involved in the D-Day landings…Get out the bunting!’ Norma ‘Made me really want to read more after rushing through it’ Joanne ‘Left me wanting more…the most perfect setting in the West Country, sun, sea and a fantastic welcoming community’ Sally

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A step-by-step guide for creatives to transform your passion into a profitable business.Whether you’re a musician, photographer, painter, writer, dancer, singer, or any other creative with aspirations of making a living from your art, this is the perfect time to turn your creative ideas into a sustainable business. With gatekeepers no longer controlling the market, anyone with a laptop and a dream can make a thriving living from their creativity.This is the definitive sales and marketing playbook for anyone looking to make a living from their art. Each page provides the inspiration and practical steps you need to build a personal brand, overcome starving-artist syndrome, and finally make consistent sales from your art. By combining left-brain traditional marketing methods with the tools you‘ll build a confident mindset, take charge of your destiny, and create a clear path for success.Miriam Schulman, host of the "Inspiration Place" podcast, breaks down the five core elements in the “Passion to Profit” planning framework to help you develop your art business—so that you can have the time and freedom to do what you love: PROSPECTING: Build an audience of followers who want what you've got and are prepared to pay top dollar. PRODUCTION: Draw attention to your creations by embracing your authenticity. PRODUCTIVITY: Create work-life balance by managing your priorities and setting manageable goals. PROMOTION: Attract collectors in an authentic and non-salesy way. PRICING: Price your art, products, or services based on cutting edge research that explains buyer psychology. After twenty years of selling art as well as coaching other artists, Miriam knows that now is the time to leave the rat race and pursue your highest dreams. Don’t wait for a sign from the universe to gamble on yourself.

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The work of Alex Colville, O.C. (1920-2013), one of the great modern realist painters, combines the Flemish detail of Andrew Wyeth, the eerie foreboding of George Tooker and the anguished confrontations of Lucian Freud. Behind the North Americans stands their common master, Edward Hopper. Colville's works are in many museums in Canada and Germany. He has affinities with Max Beckmann and appeals to the German "secondary virtues": cleanliness, punctuality, love of order. In a long life he resolutely opposed the fashionable currents of abstract and expressionistic art. In contrast to Jackson Pollock's wild action painting, Colville created paintings of contemplation and reflection. As Jeffrey Meyers writes: I spent several days with Colville on each of three visits from California to Wolfville. I received seventy letters from him between August 1998 and April 2010, and kept thirty-six of my letters to him. He sent me photographs and slides of his work and, in his eighties, discussed the progress and meaning of the paintings he completed during the last decade of his life. His handwritten letters, precisely explaining his thoughts and feelings, provide a rare and enlightening opportunity to compare my insights and interpretations with his own intentions and ideas. He also discussed his family, health, sexuality, politics, reading, travels, literary interests, our mutual friend Iris Murdoch, response to my writing, his work, exhibitions, sales of his pictures and of course the meaning of his art. His letters reveal the challenges he faced during aging and illness, and his determination to keep painting as health difficulties mounted. He stopped writing to me when he became seriously ill two years before his death. In this context the late paintings, presented in colour in this book, take on a new poignancy.

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Learn how cannabis can help spark your creativity! Cannabis has long been used and revered for its many benefits, from its widely acknowledged medical applications to its commonly accepted ability to help people relax. And now, with the list of states and countries legalizing marijuana usage for all purposes growing rapidly, we ve finally reached a tipping point where cannabis is achieving a level of mainstream acceptance and usage, especially among artists. Many established and aspiring artists are looking to cannabis use to aid in their creativity whether that s to expand the imagination, connect disparate ideas, take artistic risks, or myriad other ways to create and generate work. In Cannabis for Creatives, photographer and cannabis advocate Jordana Wright provides what you need to know to take full advantage of cannabis s potential in your creative work. She begins with the basics how cannabis grows, how it is ingested, and the nuances of variety then works through both the history of cannabis usage and all the pertinent details of the plant itself lineage, strains, appearance, flavor, terpenes, and the types of high you can experience. Jordana also discusses the neuroscience of cannabis use, including how it affects the brain and how science measures creativity. Then, Jordana reveals her findings after conducting more than 30 interviews with artists, including photographers, writers, sculptors, painters, actors, comedians, and musicians as she investigates how these artists use cannabis in their work including what strains work best for them and how it has helped them become more creative, increase their artistic output, and have creative breakthroughs. The book also features a series of creative prompts that you can use as guided creative experiences in your own creative work.

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A pathbreaking history of art that uses digital research and economic tools to reveal enduring inequities in the formation of the art historical canonPainting by Numbers presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities.Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London’s Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity.Upending traditional perspectives on the art historical canon, Painting by Numbers offers an innovative look at the nineteenth-century art world and its legacy.

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From court portraits for the Spanish royals to horrific scenes of conflict and suffering, Francisco José de Goya y Lucientes (1746–1828) made a mark as one of Spain’s most revered and controversial artists. A master of form and light, his influence reverberates down the centuries, inspiring and fascinating artists from the Romantic Eugène Delacroix to Britart enfants terribles, the Chapman brothers. Born in Fuendetodos, Spain, in 1746, Goya was apprenticed to the Spanish royal family in 1774, where he produced etchings and tapestry cartoons for grand palaces and royal residences across the country. He was also patronized by the aristocracy, painting commissioned portraits of the rich and powerful with his increasingly fluid and expressive style. Later, after a bout of illness, the artist moved towards darker etchings and drawings, introducing a nightmarish realm of witches, ghosts, and fantastical creatures. It was, however, with his horrific depictions of conflict that Goya achieved enduring impact. Executed between 1810 and 1820, The Disasters of War was inspired by atrocities committed during the Spanish struggle for independence from the French and penetrated the very heart of human cruelty and sadism. The bleak tones, agitated brushstrokes, and aggressive use of Baroque-like light and dark contrasts recalled Velázquez and Rembrandt, but Goya’s subject matter was unprecedented in its brutality and honesty. In this introductory book from TASCHEN Basic Art 2.0 we set out to explore the full arc of Goya’s remarkable career, from elegant court painter to deathly seer of suffering and grotesquerie. Along the way, we encounter such famed portraits as Don Manuel Osorio Manrique de Zúñiga, the dazzling Naked Maja, and The 3rd of May 1808 in Madrid, one of the most heart-stopping images of war in the history of art.

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