Search results for ""Author Painters"

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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Learn about key movements like impressionism, cubism and symbolism in The Art Book.Part of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Art in this overview guide to the subject, brilliant for novices looking to find out more and experts wishing to refresh their knowledge alike! The Art Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Art, with:- More than 80 of the world's most remarkable artworks- Packed with facts, charts, timelines and graphs to help explain core concepts- A visual approach to big subjects with striking illustrations and graphics throughout- Easy to follow text makes topics accessible for people at any level of understandingThe Art Book is a captivating introduction to painting, drawing, printing, sculpture, conceptual art, and performance art - from ancient history to the modern day - aimed at adults with an interest in the subject and students wanting to gain more of an overview. Here you'll discover more than 80 of the world's most groundbreaking artworks by history's most influential painters, sculptors and artists, through exciting text and bold graphics.Your Art Questions, Simply ExplainedThis fresh new guide examines the ideas that inspired masterpieces by Van Gogh, Rembrandt, Klimt, Matisse, Picasso, and dozens more! If you thought it was difficult to learn about the defining movements, The Art Book presents key information in a clear layout. Find out about subject matters, techniques, and materials, and learn about the talented artists behind the great works, through superb mind maps and step-by-step summaries.The Big Ideas SeriesWith millions of copies sold worldwide, The Art Book is part of the award-winning Big Ideas series from DK. The series uses striking graphics along with engaging writing, making big topics easy to understand.

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How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century EuropeAs the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old.Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time.Beautifully illustrated, Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

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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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Descubra más sobre Frida Kahlo, la mujer que pasó a la historia como una de las artistas más emblemáticas del siglo XX. Find out more about Frida Kahlo, the woman who painted herself into history as one of the most iconic female artists of the twentieth century -- now available for Spanish speakers everywhere!Siempre se puede reconocer un cuadro de Kahlo porque ella está en casi todos, con su pelo negro trenzado y sus coloridos trajes mexicanos. Una mujer valiente que estuvo inválida la mayor parte de su vida, se transformó en una obra de arte viva. Tan famosa por sus autorretratos e imágenes inquietantes, así como por su matrimonio con otro famoso artista, Diego Rivera, esta pintora fuerte y valiente se inspiró en la antigua cultura e historia de su amada patria, México. Sus cuadros siguen informando e inspirando a la cultura popular de todo el mundo. You can always recognize a painting by Kahlo because she is in nearly all--with her black braided hair and colorful Mexican outfits. A brave woman who was an invalid most of her life, she transformed herself into a living work of art. As famous for her self-portraits and haunting imagery as she was for her marriage to another famous artist, Diego Rivera, this strong and courageous painter was inspired by the ancient culture and history of her beloved homeland, Mexico. Her paintings continue to inform and inspire popular culture around the world.

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The renowned artist Ed Ruscha was born in Nebraska, grew up in Oklahoma, and has lived and worked in Southern California since the late 1950s. Beginning in 1956, road trips across the American Southwest furnished a conceptual trove of themes and motifs that he mined throughout his career. The everyday landscapes of the West, especially as experienced from the automobile - gas stations, billboards, building facades, parking lots, and long stretches of roadway - are the primary motifs of his often deadpan and instantly recognizable paintings and works on paper, as well as his influential artist books such as Twentysix Gasoline Stations and All the Buildings on the Sunset Strip. His iconic word images - declaring Adios, Rodeo, Wheels over Indian Trails, and Honey...Twisted through More Damn Traffic to Get Here - further underscore a contemporary Western sensibility. Ruscha's interest in what the real West has become - and Hollywood's version of it - plays out across his oeuvre. The cinematic sources of his subject matter can be seen in his silhouette pictures, which often appear to be grainy stills from old Hollywood movies. They feature images of the contemporary West, such as parking lots and swimming pools, but also of its historical past: covered wagons, buffalo, teepees, and howling coyotes. Featuring essays by Karin Breuer and D. J. Waldie, and a fascinating interview with the artist conducted by Kerry Brougher, this stunning catalogue, produced in close collaboration with the Ruscha studio, offers the first full exploration of the painter's lifelong fascination with the romantic concept and modern reality of the evolving American West. Published in association with the Fine Arts Museums of San Francisco Exhibition dates: de Young, San Francisco: July 16-October 9, 2016.

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How Meatyard made a stage set of his native Kentucky to portray his circle of friends and compose his eerie tableaux Stages for Being examines the photography that Ralph Eugene Meatyard created in and around Lexington, Kentucky, where he found abandoned houses in the countryside to use as sets, and directed friends and family members in scenes that suggest both ritual and theater. Establishing mood with natural lighting, he used masks, dolls and found objects as unsettling props and mined architectural detail for abstract compositional elements. Meatyard culled inspiration from a wide variety of sources. An autodidact in areas as diverse as jazz, painting, literature, history and Zen Buddhism, his voracious reading sparked endless ideas for his carefully constructed photographs. His process was also informed by consistent dialogue with a robust group of Kentucky peers, including the writer, environmental activist and farmer Wendell Berry; photographers Van Deren Coke and Robert C. May; the Trappist monk Thomas Merton; the painter Frederic Thursz; and the writer, poet and philosopher Guy Davenport, all of whom worked in the region but were engaged with contemporary ideas and practice in their fields. Ralph Eugene Meatyard (1925–72) attended Williams College as part of the Navy's V12 program in World War II. Following the war, he married, became a licensed optician and moved to Lexington, Kentucky. When the first of his three children was born, Meatyard bought a camera to make pictures of the baby. Photography quickly became a consuming interest. He joined the Lexington Camera Club, where he met Van Deren Coke, under whose encouragement he soon developed into a powerfully original photographer. Meatyard's work is housed at the Museum of Modern Art, George Eastman House in Rochester, New York, the Smithsonian Institution and many other important collections.

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Text in English and German. Otto Steidle acquired international recognition for his extraordinary early residential buildings in Munich and for exemplary solutions for school and office buildings. His office and residential complex for Wacker-Chemie in Munich is a lively accent on a particularly conspicuous site in architecturally conservative Munich. Individually balanced buildings are arranged along the block perimeter in Prinzregentenstrasse, the most important east-west axis in the inner city, diagonally opposite the Haus der Kunst, and in Bruderstrasse, which leads to Lehel, a traditional residential area. Steidle has not packed the different functions in layers one above the other, as is usual in commercial projects of this kind, but has separated them clearly from each other. The office building on the noisy carriageway of Prinzregentenstrasse takes the curve to the narrow side street in an elegant sweep, with the glass skin suspended in front of the corner giving the building an almost Mendelsohn-like verve. The series of residential buildings in Bruderstrasse is given a different quality by Berlin painter Erich Wiesner's strong colours and the projecting and recessed facades. And as here too the normal Munich scale is considerably exceeded -- the three residential towers placed diagonally to the courtyard rise eight storeys high -- there is a surprising amount of room for publicly accessible gardens inside the block, designed by landscape architects Latz + Partner, and also scope for revealing the torrential Stadtmuhlbach in a spectacular fashion, which used to be covered, but now shoots directly past one of the windows of the sunken cafeteria and then under the entrance hall of the office building, before playing at waterfalls as it gushes into the Englischer Garten at the other side of the road. Thus Prinzregentenstrasse, as a mile of museum and government buildings, and the Lehel residential area have acquired an architectural attraction of elemental impact in the shape of the Wacker building.

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In this, the first monograph of Richard Filipowski, a major figure bridging the Bauhaus and American midcentury modernism finally gets his due. Richard Filipowski (1923-2008) was among the most gifted polymaths in the annals of American modernism. Whether as a painter, sculptor, or designer of furniture and jewelry, Filipowski developed a lush, abstract, and amazingly consistent visual language that marks him among the finest figures of midcentury art and design. As a student at the Institute of Design (formerly the New Bauhaus) in Chicago, he quickly became a protégé of founder László Moholy-Nagy, who featured several of Filipowski's works in his seminal text Vision in Motion (1947); Filipowski was the only student Moholy-Nagy called upon to join the faculty, where he taught alongside Walter Gropius and Marcel Breuer. Recruited by Gropius to develop a course in design fundamentals at Harvard, which remains a cornerstone of design pedagogy to this day, he would move to MIT where he taught for more than three decades, until his retirement in 1988. With a foreword by László Moholy-Nagy's daughter Hattula, Richard Filipowski: Art and Design Beyond the Bauhaus is the first monograph of this master, who over the course of his career created a unique body of work in diverse media that has largely, until recently, been held in private collections due to his relative lack of compulsion to seek media attention or worldly rewards. But now through the efforts of the Filipowski family and new attention by design scholars - several of whom contribute essays here on Filipowski's graphic and painted works, sculpture, furniture, and position in design history - the work is being revealed to a new generation of aficionados. Richard Filipowski is a rich document of a life and career that is poised to reenter the canon of modernism.

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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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Coca-Cola is a true American original and one of the world’s most recognized and popular American products. In The Coca-Cola Art of Jim Harrison, the artist traces his lifelong love affair with the Coca-Cola trademark that began during his childhood in rural South Carolina.Harrison enjoyed drinking the sweet and effervescent beverage, but he also was attracted to the Coca-Cola trademark that was blazoned on buildings and signs in his home town. After years of marveling at the work of local sign painter J. J. Cornforth, Harrison approached the seventy-year-old for a summer job. During several summers Cornforth taught Harrison the craft. When the young artist climbed atop the scaffold in the summer of 1952 to paint his first Coca-Cola sign, little did he know that he was launching a career as one of America’s foremost landscape artists. In 1975 Harrison created a painting of a country store that featured a fading Coca-Cola sign he and Cornforth had painted twenty years earlier. The painting, titled ""Disappearing America,"" was offered as one of the first limited-edition Coca-Cola collector prints for $40 by Frame House Gallery. All 1,500 copies sold out quickly, propelling him into the national spotlight through the publisher’s network of 600 dealers. Harrison soon became the undisputed leader in rural Americana art, with this and many of his other prints appreciating up to 3,000 percent of their original value.Since entering into a licensee relationship with the Coca-Cola Company in 1995, Harrison has continued developing limited-edition prints, including his popular annual Coca-Cola calendar. Not surprisingly, Harrison has become an avid collector of old Coca-Cola signs. His studio is lined with a vast array of this collection, which serves as inspiration for new works of art.

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This incredible debut historical novel-in the tradition of Beatriz Williams and Jennifer Robson-tells the fascinating story of a young mother who flees her home on the rocky cliffs of Cornwall and the daughter who finds her way back, seeking answers. Cornwall, 1940. Back in England after the harrowing evacuation at Dunkirk, WWII Red Cross nurse Anna Trenowyth is shocked to learn her adoptive parents Graham and Prue Handley have been killed in an air raid. She desperately needs their advice as she's been assigned to the military hospital that has set up camp inside her biological mother's childhood home-Nanreath Hall. Anna was just six-years-old when her mother, Lady Katherine Trenowyth, died. All she has left are vague memories that tease her with clues she can't unravel. Anna's assignment to Nanreath Hall could be the chance for her to finally become acquainted with the family she's never known-and to unbury the truth and secrets surrounding her past. Cornwall, 1913. In the luxury of pre-WWI England, Lady Katherine Trenowyth is expected to do nothing more than make a smart marriage and have a respectable life. When Simon Halliday, a bohemian painter, enters her world, Katherine begins to question the future that was so carefully laid out for her. Her choices begin to lead her away from the stability of her home and family toward a wild existence of life, art, and love. But as everything begins to fall apart, Katherine finds herself destitute and alone. As Anna is drawn into her newfound family's lives and their tangled loyalties, she discovers herself at the center of old heartbreaks and unbearable tragedies, leaving her to decide if the secrets of the past are too dangerous to unearth...and if the family she's discovered is one she can keep.

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From nineteenth-century black nationalist writer Martin Delany through the rise of Jim Crow, the 1937 riots in Trinidad, and the achievement of Independence in the West Indies, up to the present era of globalization, Black Nationalism in the New World explores the paths taken by black nationalism in the United States and the Caribbean. Bringing to bear a comparative, diasporic perspective, Robert Carr examines the complex roles race, gender, sexuality, and history have played in the formation of black national identities in the U. S. and Caribbean—particularly in Jamaica, Trinidad, and Guyana—over the past two centuries. He shows how nationalism begins as an impulse emanating "upwards" from the bottom of the social and economic spectrum and discusses the implications of this phenomenon for understanding democracy and nationalism. Black Nationalism in the New World combines geography, political economy, and subaltern studies in readings of noncanonical literary works, which in turn illuminate debates over African-American and West Indian culture, identity, and politics. In addition to Martin Delany’s Blake, or the Huts of America, Carr focuses on Pauline Hopkins’s Contending Forces; Crown Jewel, R. A. C. de Boissière’s novel of the Trinidadian revolt against British rule; Wilson Harris’s Guyana Quartet; the writings of the Oakland Black Panthers—particularly Huey Newton, Bobby Seale, and Eldridge Cleaver; the gay novella Just Being Guys Together; and Lionheart Gal, a collection of patois testimonials assembled by Sistren, a radical Jamaican women’s theater group active in the ‘80s.With its comparative approach, broad historical sweep, and use of texts not well known in the United States, Black Nationalism in the New World extends the work of such theorists as Homi Bhabha, Paul Gilroy, and Nell Irwin Painter. It will be necessary reading for those interested in African American studies, Caribbean studies, cultural studies, women’s studies, and American studies.

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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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A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Nina Pace is a painter, illustrator and surface designer based just outside of New York City. Her favourite subject is flowers. She is awestruck by the sheer variety of petal shapes, the detailed patterning and vein layouts. When creating a new piece, Nina takes this inspiration from nature and lets the design build organically. She loves to allow each element she’s drawing to flow from the last, where each one informs the other. Nina’s artwork embraces the full and glorious spectrum of colours embodied in the natural world. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

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In collaboration with Miami’s Vizcaya Museum and Gardens, a rediscovery of a lost figure of American modernism - the early-twentieth-century American painter born into the Astor family, whose imagination and patrician clientele provide a fascinating artistic and biographical saga. American modernism is populated with a cast of extraordinary characters, but few were as exuberant as Robert Winthrop Chanler, who made his artistic reputation with exotic and brilliantly colored lacquered screens and architectural interiors whose compositions feature fantastical avian, jungle, and aquatic creatures, many overlaid with iridescent metallic finishes. Chanler painted what entertained and interested him, while attracting wealthy Gilded Age patrons and earning popular and critical acclaim at numerous exhibitions - including the 1905 Salon d’Automne, the show featuring paintings by “les fauves,” with Henri Matisse as their leader; and the legendary “International Exhibition of Modern Art” in New York City, popularly known as the 1913 Armory Show. But, despite such a prolific career and a fascinating body of work, Chanler quickly became an obscure figure after his death in 1930. Robert Winthrop Chanler: Discovering the Fantastic is the first comprehensive examination in more than eighty years of an artist who straddled the divide between fine and decorative art, defined notions of originality and authorship during the birth of American modernism, and posthumously challenges twenty-first century preservationists through his idiosyncratic techniques and unorthodox material choices. Co-published with Vizcaya Museum and Gardens, which preserves Chanler’s fantastic undersea mural on the swimming pool grotto ceiling of the historic estate, the book includes essays that explore major commissions and conservation issues, all illustrated with new color photography, as well as a chronology and exhibition history, making this the definitive study on an indelible American modernist.

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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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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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Transcendence is the long-awaited, career-spanning monograph of American landscape painter Richard Mayhew. For over half a century, Richard Mayhew has been reinventing the genre of landscape painting. His luminous work evokes not only physical vistas but also emotions, sounds, and the pure experience of color. He's known for his masterful use of color and for his unique creative process, inspired by improvisational jazz, which involves pouring paint directly onto the canvas and shaping it into lush, emotional "moodscapes." • This monograph features 70+ of his most striking works. • Includes an exclusive interview with the artist, an introduction by his gallerist Mikaela Sardo Lamarche, and an essay by Andrew Walker, director of the Amon Carter Museum of American Art • Through engaging with his work, readers are invited into deep explorations of their own inner landscapes. Transcendence is a richly rewarding celebration of an iconic artist that will make you rethink everything you know about landscape painting. Mayhew's distinctive style emerges from his roots as a jazz musician, his immersion in the Abstract Expressionist movement, his African American, Cherokee, and Shinnecock heritage, and his unique affinity for the landscapes of the American West—but his paintings transcend boundaries of location and identity. • Great for lovers of fine art, landscape painting, Abstract Expressionism, as well as those who are interested in the intersection of art, music, and emotion • A lush celebration of Richard Mayhew's work, and an ideal introductory book for new fans • Add it to the collection of books like Abstract Expressionism by Carter Ratcliff, Jeremy Lewison, Susan Davidson, and David Anfam; California Landscapes: Richard Diebenkorn / Wayne Thiebaud by John Yau; and The Art of Richard Mayhew: A Critical Analysis with Interviews by Janet Berry Hess.

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The Moonstone is one of the first true works of detective fiction, in which Wilkie Collins established the groundwork for the genre itself. This Penguin Classics edition is edited with an introduction by Sandra Kemp.The Moonstone, a priceless yellow diamond, is looted from an Indian temple and maliciously bequeathed to Rachel Verinder. On her eighteenth birthday, her friend and suitor Franklin Blake brings the gift to her. That very night, it is stolen again. No one is above suspicion, as the idiosyncratic Sergeant Cuff and the Franklin piece together a puzzling series of events as mystifying as an opium dream and as deceptive as the nearby Shivering Sand. The intricate plot and modern technique of multiple narrators made Wilkie Collins's 1868 work a huge success in the Victorian sensation genre. With a reconstruction of the crime, red herrings and a 'locked-room' puzzle, The Moonstone was also a major precursor of the modern mystery novel.In her introduction Sandra Kemp explores The Moonstone's the detective elements of Collins's writing, and reveals how Collins's sensibilities were untypical of his era.Wilkie Collins (1824-1889) was born in London in 1824, the eldest son of the landscape painter William Collins. In 1846 he was entered to read for the bar at Lincoln's Inn, where he gained the knowledge that was to give him much of the material for his writing. From the early 1850s he was a friend of Charles Dickens, who produced and acted in two melodramas written by Collins, The Lighthouse and The Frozen Deep. Of his novels, Collins is best remembered for The Woman in White (1859), No Name (1862), Armadale (1866) and The Moonstone (1868).If you enjoyed The Moonstone you might like Collins's The Woman in White, also available in Penguin Classics.'Probably the very finest detective story ever written'Dorothy L. Sayers'The first, the longest and the best of modern modern English detective novels'T.S. Eliot

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A sparkling new take on an age-old publication: The Other Almanac brings together a stellar group of young writers, artists and activists to pick up themes of environmentalism, gardening, recipes, folklore, seasonal savvy, and off- the-beaten-track amusement, all presented in brilliant color and eye-popping design. Out with the Old, in with the Other!The original Almanac is the oldest continuously printed publication in the US . It comprises a popular mix of ancient wisdom, garden advice, poems, jokes, how-to's, recipes, and calendars. It is, however, still tailored to its traditional audience: largely rural, white and conservative. It eschews stances on anything overtly progressive, be it political, ecological, or social. The Other Almanac puts right these omissions. Whilst retaining the quirkiness and liveliness of the original, it aims to bridge the urban/rural divide in America, delving into issues of politics and culture that unite us all. Its pages are filled with buoyant contributions from climate organizers, indigenous activists, migrant farmworkers, historians, scientists, medicine makers, incarcerated painters, astrologers, lawyers, borderland midwives and more. Original, full color art surrounds their writing, creating an inviting, accessible yearbook that will entertain and educate a wide new readership for an age-old chronicle. Contributors: 10th Floor Studio, adrienne maree brown, Alexis Pauline Gumbs, Alfredo Jaar, Amaryllis R. Flowers, Andrea Aliseda, Bill McKibben, Bread and Puppet Press, Carla J. Simmons, Chloë Boxer, Chris Lloyd, Dyani White Hawk, Dylan Smith, Daniel Barreto, Esther Elia, Food With Fam, Francesca DiMattio, Hangama Amiri, Hannah Beerman, Jennifer Givhan, Jessie Kindig, Jumana Manna, Kirk Gordon, Keegan Dakkar Lomanto, Lily Consuelo Saporta Tagiuri, Philip Poon, Sophia Giovannitti, Tania Willard, Tyrrell Tapaha, Veladya Chapman, Who Tattoo, Yaku Perez Guartambel.

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This beautiful art encyclopedia charts the evolution of the greatest cultural achievements in painting, sculpture, and photography.The greatest art exhibition at your fingertips! Packed with fascinating facts, clear explanations, and stunning photography, this awe-inspiring art encyclopedia for kids aged 9-12 years takes you on a magical tour through time exploring every artistic style and movement in stunning detail. From Leonardo da Vinci's iconic Mona Lisa to Vincent van Gogh's spectacular The Starry Night, this art history book celebrates the lives of groundbreaking artists and their most famous art masterpieces.Get to grips with world-famous sculptures, such as the ancient Chinese Terracotta Army and Henry Moore's beautiful bronze casts. Then find out about photography, from the development of the camera to pioneering photographers such as Johannes Vermeer and Julia Margaret Cameron. Designed for both parent and children to enjoy together, this bestselling book on art history is guaranteed to encourage a love of art through the generations.Celebrate your child's creativity as they explore:- "Artist profiles" explore the lives & major works of key painters, sculptors, photographers, musicians, & dancers.- Our "Closer look" pages delve deeper into a work of art, highlighting technique, detail, and symbols.- Stunning double-page spreads feature important works of art in full colour.- Striking visual artworks and photographs are all clearly explained and annotated.- Easily accessible & age-appropriate text covers key curriculum topics - Number 1 Best Seller in Children's Books on Art History From ancient cave paintings to modern-day street art, this gorgeously illustrated art book for children traces the development of painting, sculpture, and photography through the ages. It's the ultimate introduction to the world of art for kids! A must-have volume for children curious about the arts, as well as parents, carers and educators seeking an accessible and visually-engaging encyclopedia for children all about art history.

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“Houston spread like a glass of milk spilled on the wobbling table of Texan plains,” Micah Fields writes in this unique and poetic blend of reportage, history, and memoir. Developed as the commercial hub of the Texas cotton and sugarcane industries, Houston was designed for profit, not stability. Its first residents razed swamplands into submission to construct a maze of highways and suburbs, giving the city a sprawling, centerless energy where feral cats, alligators, and poisonous snakes flourished in the bayous as storms and floods rattled coastal Texas. When Hurricane Harvey made landfall in 2017, Fields set off from his home in Iowa back to the battered city of his childhood to rescue his mother who was hell-bent on staying no matter how many feet of rain surged in from the Gulf. Along the way, he traded a Jeep for a small boat and floated among the storm’s detritus in search of solid ground. With precision and eloquence, Fields tracks the devastation of Hurricane Harvey, one storm in a long lineage that threatens the fourth largest city in America. Fields depicts the history of Houston with reverence and lyrical certainty, investigating the conflicting facets of Texan identity that are as resilient as they are catastrophic, steeped in racial subjugation, environmental collapse, and capitalist greed. He writes of the development of the modern city in the wake of the destruction of Galveston in 1900; of the wealthy Menil family and self-taught abstract painter Forrest Bess, a queer artist and fisherman born in 1911 who hardly ever left the Gulf Coast; of the oil booms and busts that shaped the city; of the unchecked lust for growth that makes Houston so expressive of the American dream. We Hold Our Breath is a portrait of a city that exists despite it all, a city whose story has always been one of war waged relentlessly against water.

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Towards the end of a long and astonishingly full life, whose scope and variety most of us can only dream about, Jan Carew began writing his memoirs. Written with Joy Gleason Carew, this book offers unparalleled insight into the life and work of this pioneering global, multifaceted man.Towards the end of a long and astonishingly full life, whose scope and variety most of us can only dream about, Jan Carew began writing his memoirs. A global, multifaceted man, they cover his multiple lives as Guyanese/Caribbean novelist, anti-colonial and anti-imperialist activist, the early shaper of Black Studies in the United States, actor and playwright, painter, agricultural evangelist, advisor to Heads of State in Africa and the Caribbean and theoretician of the Columbian origins of racism in the Americas. They take in his political awakening in colonial British Guiana, his sojourns in Communist Eastern Europe, his life as a writer in London, Paris and Amsterdam, his return to the Caribbean in the nationalist 1960s and his presence as a reporter in Cuba at the time of the revolution, his years in Africa and role as an advisor to Nkrumah in Ghana and his restless coming to rest in North American academia and the struggle for Black self-definition. There are points of disillusion, times when hopes were thwarted, but, throughout, Carew’s inextinguishable commitment to human possibility and resistance to oppression burns bright.Sadly, as Carew grew older his original plans for writing this book could not be realised without the assistance of his wife, Joy Carew. As well as what Jan Carew was able to write, the memoir was constructed from taped, transcribed material – which brings us closer to Carew’s compelling speaking voice – and where there are gaps, Joy Gleason Carew goes back to some of the vivid, eye-witness journalism Jan Carew wrote in those heady days of hope and struggle.

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This book is about contemporary issues in architecture and urbanism, taking the form of a project for The Corviale Void, a one kilometre long strip of urban space, immured in the notorious Corviale housing development in the Southwestern sector of Rome. Corviale is a bizarre object, single-minded in its idea, the history of Corviale can be traced to debates in Italian architecture culture of the 1960’s, including Aldo Rossi’s objection to urbanisation, as articulated in his books and projects. On the one hand the project for the Corviale Void begins with one of the original theorists of modern urbanisation and architecture, Giovanni Battista Piranesi, looking into his fascination with the insides of walls. On the other hand the project begins with a new material form, The Air Grid. Like the forms appearing in Piranesi’s etchings, Air Grid is made from a kind of hatching, but Air Grid is hatched out of colour vectors, literally drawn into the air. The human eye is easily mesmerised by the Air Grid, scanning back and forth it reads the colour form as animated, in some sense alive. At the same time as the Italian architects were engaged in those activities that would eventually give birth to the Corviale Void, the painter Yves Klein, was creating The Architecture of the Air. Klein’s work is of special interest to the project of the Corviale Void because of the important role of colour in the development of his thinking about architecture. By attending to Klein’s parallel inquiry Air Grid is brought into dialogue with the philosophy of Arthur Schopenhauer, who was one of the first thinkers to develop a physiological theory of colour. The important thing about Schopenhauer’s thinking is the careful way he looked at physiological phenomena, regarding them as directly informed by metaphysical powers; for Schopenhauer Architecture too is a physiological matter and hence metaphysical. The concluding proposal for the Corviale Void presents a metaphysical archite

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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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A brand-new perspective on early modern art and its relationship with nature as reflected in this moving account of overlooked artistic genius Adam Elsheimer, by an outstanding writer and critic. Seventeenth-century Europe swirled with conjectures and debates over what was real and what constituted 'nature', currents that would soon gather force to form modern science. Natural Light deliberates on the era’s uncertainties, as distilled in the work of painter Adam Elsheimer – a short-lived, tragic German artist who has always been something of a cult secret. Elsheimer’s diminutive, intense and mysterious narrative compositions related figures to landscape in new ways, projecting unfamiliar visions of space at a time when Caravaggio was polarizing audiences with his radical altarpieces and circles of ‘natural philosophers’ – early modern scientists – were starting to turn to the new ‘world system’ of Galileo. Julian Bell transports us to the spirited Rome of the 1600s, where Elsheimer and other young Northern immigrants – notably his friend Peter Paul Rubens – swapped pictorial and poetic reference points. Focusing on some of Elsheimer's most haunting compositions, Bell drives at the anxieties that underlie them – a puzzling over existential questions that still have relevance today. Traditional themes for imagery are expressed with fresh urgency, most of all in Elsheimer's final painting, a vision of the night sky of unprecedented poetic power that was completed at a time of ferment in astronomy. Circulated through prints, Elsheimer’s pictorial inventions affected imaginations as disparate as Rembrandt, Lorrain and Poussin. They even reached artists in Mughal India, whose equally impassioned miniatures expand our sense of what 'nature' might be. As we home in on artworks of microscopic finesse, the whole of the 17th-century globe and its perplexities starts to open out around us.

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This book is a critical study of the interaction between Russian Church and society in the late nineteenth and early twentieth century. At a time of rising nationalist movement throughout Europe, Orthodox patriots advocated for the place of the Church as a unifying force, central to the identity and purpose of the burgeoning, yet increasingly religiously diverse Russian Empire. Their views were articulated in a variety of ways. Bishops such as Metropolitan Antony Khrapovitsky - a founding hierarch of the Russian Orthodox Church outside Russia - and other members of the clergy expressed their vision of Russia through official publications (including ecclesiastical journals), sermons, the organization of pilgrimages and the canonization of saints. On the other hand, religious intellectuals (such as the famous philosopher Vladimir Soloviev and the controversial former-Marxist Sergey Bulgakov) promoted what was often a variant vision of the nation through the publication of books and articles. Even the once persecuted Old Believers, emboldened by a religious toleration edict of 1905, sought to claim a role in national leadership. And many - in particularly famous painter Mikhail Vasnetsov - looked to art and architecture as a way of defining the religious ideals of modern Russia.Whilst other studies exist that draw attention to the voices in the Church typified as “liberal” in the years leading up to the Revolution, this work introduces the reader to a wide range of “conservative” opinion that equally strove for spiritual renewal and the spread of the Gospel. Ultimately neither the “conservative” voices presented here nor those of their better-known “liberal” protagonists were able to prevent the calamity that befell Russia with the Bolshevik revolution in 1917.Grounded in original research conducted in the newly accessible libraries and archives of post-Soviet Russia, this study is intended to reveal the wider relevance of its topic to an ongoing discussion of the relationship between national or ethnic identities on the one hand and the self-understanding of Orthodox Christianity as a universal and transformative Faith on the other.

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". . . And now, dear reader, for your intellectual toilet, here is a little piece of soap. Well handled, we guarantee it will be enough. Let us hold this magic stone." The poet Francis Ponge (1899-1988) occupied a significant and unchallenged place in French letters for over fifty years, attracting the attention and admiration of generations of leading intellectuals, writers, and painters, a notable feat in France, where reputations are periodically reassessed and undone with the arrival of new literary and philosophical schools. Soap occupies a crucial, pivotal position in Ponge's work. Begun during the German occupation when he was in the Resistance, though completed two decades later, it determined, according to Ponge, the form of almost all his postwar writing. With this work, he began to turn away from the small, perfect poem toward a much more open form, a kind of prose poem which incorporates a laboratory or workshop, recounting its own process of coming into being along with the final result. The outcome is a new form of writing, which one could call "processual poetry." Ponge's later work, from Soap on, is a very important tool in the questioning and rethinking of literary genres, of poetry and prose, of what is literature. There is a blurring of boundaries between Soap and soap (which was hard to come by during the Resistance and is also, of course, metaphorical for a larger social restitution). Soap contains the sum of Ponge's aesthetics and materialist ethics and his belief in the supremacy of language as it becomes the object of the text. In the words of Serge Gavronsky, "this work, perhaps one of the longest running metaphors in literature, slowly unwinds, bubbles in verbal inventions, and finally evaporates, leaving the water slightly troubled, slightly darker, but the hands clean, really clean. . . . Out of murky literary habits, Ponge has devised a way of cleaning his text, and through it, man himself, his vocabulary, and as a consequence, his way of being in the world."

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This book continues the personal story of Jabra Ibrahim Jabra (1920â€"1994) that began with The First Well: A Bethlehem Boyhood. Jabra was one of the Middle East’s leading novelists, poets, critics, painters, and translators (he was the first to translate The Sound and the Fury into Arabic), and is the writer who is given credit for modernizing the Arabic novel. This book not only helps us understand Jabra as a writer and human being but also his times in postâ€"World War II Baghdad when Iraq was enjoying an unprecedented period of creativity in literature and the arts. As a bright and inquisitive young man he became friends with the archeologist Max Mallowan and his wife, who, he later learned, was Agatha Christie (she wrote The Mousetrap during this period, in a little mud brick room). Jabra’s intellectual autobiography quickly developed as he traveled to Jerusalem, Oxford, and Harvard University, where he studied with I. A. Richards and Archibald MacLeish. A number of different teaching posts in Baghdad provided him opportunities to become friends with many leading poets, such as Buland al-Haydari and Tawfiq Sayigh; historians like George Antonius; and the renowned translators of Arabic literature Desmond Stewart and Denys Johnson-Davies. But this book is not only about matters of the mind, it is about matters of the heart as well. Jabra beautifully describes his lengthy love affair with a young Muslim woman, the beautiful Lamica, whom he first met near Princesses’ Street and whom he eventually married. He recounts all of the difficulties they had to surmount, and the pleasures to be had. This is the last book that Jabra published during his lifetime. Not only is Jabra’s life an outstanding example of the circumstancesâ€"and fateâ€"of the Palestinian in the twentieth century, but it also provides countless interesting insights into the cultural life of the Middle East in general and its modes of interconnection with the West.

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This beautiful art encyclopedia charts the evolution of the greatest cultural achievements in painting, sculpture, and photography.The greatest art exhibition at your fingertips! Packed with fascinating facts, clear explanations, and stunning photography, this awe-inspiring art encyclopedia for kids aged 9-12 years takes you on a magical tour through time exploring every artistic style and movement in stunning detail. From Leonardo da Vinci's iconic Mona Lisa to Vincent van Gogh's spectacular The Starry Night, this art history book celebrates the lives of groundbreaking artists and their most famous art masterpieces. Get to grips with world-famous sculptures, such as the ancient Chinese Terracotta Army and Henry Moore's beautiful bronze casts. Then find out about photography, from the development of the camera to pioneering photographers such as Johannes Vermeer and Julia Margaret Cameron. Designed for both parents and children to enjoy together, this bestselling book on art history is guaranteed to encourage a love of art through the generations.Celebrate your child's creativity as they explore:- “Artist profiles" explore the lives & major works of key painters, sculptors, photographers, musicians, & dancers.- Our "Closer look" pages delve deeper into a work of art, highlighting technique, detail, and symbols.- Stunning double-page spreads feature important works of art in full color.- Striking visual artworks and photographs are all clearly explained and annotated.- Easily accessible & age-appropriate text covers key curriculum topics - Number 1 Best Seller in Children’s Books on Art History From ancient cave paintings to modern-day street art, this gorgeously illustrated art book for children traces the development of painting, sculpture, and photography through the ages. It's the ultimate introduction to the world of art for kids! A must-have volume for children curious about the arts, as well as parents, carers and educators seeking an accessible and visually-engaging encyclopedia for children all about art history.

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The New York Times Bestseller "I wish I had read these rules forty years ago and carried them around like a bible. By chance or design I've followed most of them at some point but it took me a lifetime as an artist to find what worked. They are the generous, loving, enthusiastic, bullshit-free advice of a master communicator, just reading them makes me want to charge back into the studio" - Grayson Perry"Being an artist is a lonely pursuit - twenty-four hours a day, seven days a week, for the rest of your life. Most of the time it hurts. This book will help the pain" - Tracey EminOne of Elizabeth Gilbert's 2020 Quarantine Book Recommendations"Joy is palpable in these pages. We need such thinking right now" - Apollo MagazineAs the witty and passionate chief art critic for New York magazine, Jerry Saltz is often approached by artists, both amateur and professional, asking him for advice: How do I get started? How do I get better? Is what I'm doing even art at all? They want to know, in short, how to be an artist. Now, expanding on his viral cover story for New York magazine - and drawing on his decades of immersion in the art world - Saltz has the answers. How to Be An Artist is an indispensable book of practical inspiration for creative people of all kinds. Brimming with dozens of brand new rules, prompts, exercises, and tips designed to break through creative blocks, ignite motivation, and conquer bad habits, this book is designed to help artists of all kinds - painters, photographers, writers, performers - realize their dreams. Includes such advice as:- Make art for now, not the future- No, you don't need graduate school- Recognize convention, and resist constraint- Get lost- Listen to the wildest voices in your head- Know what you hate (it's probably you)- Finish the damn thing!- How to recover from critical injuries

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It answers all your questions! The first edition of the Dictionnaire de la Grande Armée was published in 2002, on the eve of the great Napoleonic military bicentenary celebrations, which took place between 2004 and 2015. Since then, a lot of publications have been brought out; this edition takes this into account and brings the different sections up to date. The first aim of this dictionary is to answer amateurs’ questions both general and precise. This book is unique in that it has no equivalent nowadays; it’s a work tool and a reference book which makes often complex and wide-ranging scattered research easier; it won the Grand Prix Premier Empire from the Fondation Napoléon when it came out. This Dictionnaire de la Grande Armée is now an easy, condensed synthesis which should delight all Napoleon enthusiasts, researchers and students who are interested in things military. Wherever possible at the end of the articles, we have indicated the references as well as the bibliographical route to take in order to refine and complement the researches. New: in this edition we have 600 biographies of people who had something to do with this military period, anything of an anecdotal nature which has a link to army organisation and military memorialists; we have also added 127 biographies of people linked to Napoleonic military history from the 19th and 20th Centuries, amateurs who were collectors, writers, historians, painters, etc., like Detaille, Lalauze, Margerand, Martinien, Rousselot, Saski, Six, etc. This part is completely new. In this second edition, there are more articles – at least 2 600 – but they have been padded out and are more precise and in a lot of cases quite new. The book finishes with a long bibliography. With all these articles, we hope you will save time in your future research and that you will discover a lot of new information, not to mention the pleasure of reading more about the history of this military epic. This dictionary is a tool which you will use often and is a must for your bookcase: that’s what it’s for!

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In 1851 John Ruskin came to the defence of the young artists of the Pre-Raphaelite Brotherhood by writing two letters to The Times, refuting widespread criticism of their paintings. Soon afterwards he published a pamphlet entitled Pre-Raphaelitism, beginning almost a decade of public support for the work of William Holman Hunt, John Everett Millais and their associates. Already established as one of the leading writers on art, he took a personal risk in defending the Pre- Raphaelite cause, but saw a parallel in the hostile reaction to the paintings of his artistic idol J. M. W. Turner. In Millais especially, Ruskin hoped to nurture a worthy successor in landscape painting, arguing that the Pre-Raphaelites’ attention to truth and detail offered the opportunity to establish a “new and noble school” of British art. This is the first compilation of all of Ruskin’s published writings relating to the Pre-Raphaelites, beginning with the celebrated passage in the first volume of Modern Painters (1843) exhorting young artists to “go to nature in all .... rejecting nothing, selecting nothing and scorning nothing,” later claimed by Hunt to have been an inspiration. As well as Pre- Raphaelitism (1851), rarely reprinted since, and the fourth of the 1853 Edinburgh lectures, it includes all the comments on paintings in the annual Academy Notes (1855-9) which pertain to Pre-Raphaelitism, underlining Ruskin’s significant contribution to the movement’s popular success and the widespread acceptance of its principles. From the period after 1860, when Ruskin was concentrating more on social issues, come the the little-known articles published in the Nineteenth Century magazine under the title The Three Colours of Pre-Raphaelitism (1878), and a number of lectures, including the last of his Slade Lectures, The Art of England (1883), delivered just a few years before his mental faculties failed. Edited with a commentary and preface by Stephen Wildman, Director of the Ruskin Library and Research Centre, University of Lancaster, and with an introduction by Robert Hewison, one of Ruskin’s successors as Slade Professor of Art at the University of Oxford.

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This survey exhibition captures the arc and continued ascent of contemporary artist Beverly McIver. This exhibition catalog accompanies a survey exhibition of contemporary artist and painter Beverly McIver. Curated by Kim Boganey, this exhibition represents the diversity of McIver’s thematic approach to painting over her career. From early self-portraits in clown makeup to more recent works featuring her father, dolls, Beverly’s experiences during COVID-19 and portraits of others, Full Circle illuminates the arc of Beverly McIver’s artistic career while also touching on her personal journey. McIver’s self-portraits explore expressions of individuality, stereotypes, and ways of masking identity; portraits of family provide glimpses into intimate moments, in good times as well as in illness and death. The show includes McIver’s portraits of other artists and notable figures, recent work resulting from a year in Rome with American Academy’s Rome Prize, and new work in which McIver explores the juxtaposition of color, patterns, and the human figure. Full Circle also features works that reflect on McIver’s collaborations with other artists, as well as her impact on the next generation of artists. The complementary exhibition, In Good Company, includes artists who have mentored McIver, such as Faith Ringgold and Richard Mayhew, as well as those who have studied under her. This catalog includes a conversation with Beverly McIver by exhibition curator Kim Boganey, as well as two essays: one by leading Black feminist writer Michele Wallace, daughter of Beverly’s graduate school mentor Faith Ringgold, and another by distinguished scholar of African American art history Richard Powell. Published in association with the Scottsdale Museum of Contemporary Art Exhibition dates: Scottsdale Museum of Contemporary Art February 12—September 4, 2022 Southeastern Center for Contemporary Art December 8, 2022–March 26, 2023 The Gibbes Museum April 28–August 4, 2023

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Learn about key movements like impressionism, cubism and symbolism in The Art Book.Part of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Art in this overview guide to the subject, great for novices looking to find out more and experts wishing to refresh their knowledge alike! The Art Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Art, with:- More than 80 of the world’s most remarkable artworks- Packed with facts, charts, timelines and graphs to help explain core concepts- A visual approach to big subjects with striking illustrations and graphics throughout- Easy to follow text makes topics accessible for people at any level of understandingThe Art Book is a captivating introduction to painting, drawing, printing, sculpture, conceptual art, and performance art - from ancient history to the modern day - aimed at adults with an interest in the subject and students wanting to gain more of an overview. Here you’ll discover more than 80 of the world’s most groundbreaking artworks by history’s most influential painters, sculptors and artists, through exciting text and bold graphics.Your Art Questions, Simply ExplainedThis fresh new guide examines the ideas that inspired masterpieces by Van Gogh, Rembrandt, Klimt, Matisse, Picasso, and dozens more! If you thought it was difficult to learn about the defining movements, The Art Book presents key information in an easy to follow layout. Find out about subject matters, techniques, and materials, and learn about the talented artists behind the great works, through fantastic mind maps and step-by-step summaries.The Big Ideas SeriesWith millions of copies sold worldwide, The Art Book is part of the award-winning Big Ideas series from DK. The series uses striking graphics along with engaging writing, making big topics easy to understand.

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Learn about key movements like impressionism, cubism and symbolism in The Art Book.Part of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Art in this overview guide to the subject, great for novices looking to find out more and experts wishing to refresh their knowledge alike! The Art Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Art, with:- More than 80 of the world’s most remarkable artworks- Packed with facts, charts, timelines and graphs to help explain core concepts- A visual approach to big subjects with striking illustrations and graphics throughout- Easy to follow text makes topics accessible for people at any level of understandingThe Art Book is a captivating introduction to painting, drawing, printing, sculpture, conceptual art, and performance art - from ancient history to the modern day - aimed at adults with an interest in the subject and students wanting to gain more of an overview. Here you’ll discover more than 80 of the world’s most groundbreaking artworks by history’s most influential painters, sculptors and artists, through exciting text and bold graphics.Your Art Questions, Simply ExplainedThis fresh new guide examines the ideas that inspired masterpieces by Van Gogh, Rembrandt, Klimt, Matisse, Picasso, and dozens more! If you thought it was difficult to learn about the defining movements, The Art Book presents key information in an easy to follow layout. Find out about subject matters, techniques, and materials, and learn about the talented artists behind the great works, through fantastic mind maps and step-by-step summaries.The Big Ideas SeriesWith millions of copies sold worldwide, The Art Book is part of the award-winning Big Ideas series from DK. The series uses striking graphics along with engaging writing, making big topics easy to understand.

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